The document provides guidance on writing effective artist statements, noting they should serve as an introduction to one's work and concerns through focused self-analysis and reflection rather than justification, biography, or chronology. It recommends preparing by answering questions about motivations and influences before "boiling down" writing through multiple drafts to highlight engaging themes without overuse of florid language or comparisons. The goal is to help orient viewers without explaining the work away.
Writing Your Artist Statement Without Freaking Out Michael Lawrence
This document provides guidance on writing an artist statement without anxiety. It explains that an artist statement introduces an artist's work, helps audiences understand the work, and invites conversation without making people feel confused or unwelcome. The document recommends being nice to the audience by speaking in an inviting and understandable way. It then presents a basic formula for an artist statement including describing what the artist made, how they made it, why they made it, their overall ideas, and reflections. Finally, it suggests strategies for painless pre-writing and post-writing like using mind maps, asking friends for feedback, and editing tools to draft an artist statement.
This document provides guidance on writing an artist's statement or statement of purpose for art school applications. It discusses including information about your artistic style, objectives, inspiration, and future goals. The document recommends structuring the statement in three paragraphs that introduce yourself, provide more details about your work and process, and discuss your aspirations and how the school can help you achieve them. It emphasizes being honest, specific, and tailored to each individual school through research. Overall, the document aims to help applicants concisely yet effectively communicate their passion and vision for art to admissions committees.
How to create a photography artist statement, bio, resume and CValexandra copley
The document provides guidance on creating an effective artist statement. It explains that an artist statement is a short document written by the artist to give insight into their work and creative process. It should be informative but not a resume or biography. Having an artist statement is important as it helps viewers understand the artist's work and message, building a connection between artist and audience. The document provides tips on what to include in a statement and recommends keeping it concise, between 100-300 words. It also offers exercises to help artists overcome a blank page when starting their statement.
The document provides guidance on creating resumes and artist statements for visual artists. It recommends that resumes be concise at 2-5 pages and focus only on art-related activities. Resumes should include education, employment, gallery representation, exhibitions, permanent collections, commissions, publications, and awards in reverse chronological order. Artist statements should introduce an artist's work and concerns in 1-3 paragraphs without justifying or overexplaining the art. They involve self-reflection on artistic motivations, influences, processes, and common themes across one's body of work. Brief bios and blurbs that combine biographical and artistic information are also discussed.
Admit Me: Why College Application Essays and Artistic Statements MatterRebecca Joseph
Danielle is a singer and violinist who is applying to music programs. She shares her passion for singing through essays describing her experiences in music programs. She found her calling last summer focusing on music and science. A vocal program helped her gain confidence to pursue music in college. In her artistic statement for NEC, she details why their program is a good fit, allowing her to develop operatically and take classes in various styles and languages. Community performance opportunities also appeal to her. Her essays convey her dedication to music and suitability for intensive conservatory programs.
The artist creates hip-hop music to reach people around the world and speak on real life issues and personal experiences in order to help listeners who are struggling feel less alone. They select sounds, themes, and concepts by freeing their mind and letting ideas develop without control, then refocusing to redefine their goals. Currently, the artist is working on a mixtape and experimenting with various delivery methods, rhyme schemes, wordplay, and imagery in lyrics that make the audience feel like they know the artist.
The document provides guidance on writing an effective artist statement, including introducing yourself and your art. It recommends discussing your influences, values, choice of medium, and importance of subject matter. It contrasts a good example statement that prepares the reader for the artist's work with a poor example that is too lengthy, confusing and does not discuss medium choice. The document concludes by providing questions for artists to consider when writing their statement.
The document provides an overview of how to analyze and interpret artworks through a four step process: description, analysis, interpretation, and judgment. It discusses how art historical research helps provide context and external evidence to analyze what cannot be gleaned just from looking at the artwork. Interpretation involves uncovering what the artwork may mean based on description and analysis, though there are no definitive answers as artworks can mean different things to different people. The document also cautions that the artist's intention is not always a fixed idea and artworks are often meant to provoke thought rather than state a single meaning.
Writing Your Artist Statement Without Freaking Out Michael Lawrence
This document provides guidance on writing an artist statement without anxiety. It explains that an artist statement introduces an artist's work, helps audiences understand the work, and invites conversation without making people feel confused or unwelcome. The document recommends being nice to the audience by speaking in an inviting and understandable way. It then presents a basic formula for an artist statement including describing what the artist made, how they made it, why they made it, their overall ideas, and reflections. Finally, it suggests strategies for painless pre-writing and post-writing like using mind maps, asking friends for feedback, and editing tools to draft an artist statement.
This document provides guidance on writing an artist's statement or statement of purpose for art school applications. It discusses including information about your artistic style, objectives, inspiration, and future goals. The document recommends structuring the statement in three paragraphs that introduce yourself, provide more details about your work and process, and discuss your aspirations and how the school can help you achieve them. It emphasizes being honest, specific, and tailored to each individual school through research. Overall, the document aims to help applicants concisely yet effectively communicate their passion and vision for art to admissions committees.
How to create a photography artist statement, bio, resume and CValexandra copley
The document provides guidance on creating an effective artist statement. It explains that an artist statement is a short document written by the artist to give insight into their work and creative process. It should be informative but not a resume or biography. Having an artist statement is important as it helps viewers understand the artist's work and message, building a connection between artist and audience. The document provides tips on what to include in a statement and recommends keeping it concise, between 100-300 words. It also offers exercises to help artists overcome a blank page when starting their statement.
The document provides guidance on creating resumes and artist statements for visual artists. It recommends that resumes be concise at 2-5 pages and focus only on art-related activities. Resumes should include education, employment, gallery representation, exhibitions, permanent collections, commissions, publications, and awards in reverse chronological order. Artist statements should introduce an artist's work and concerns in 1-3 paragraphs without justifying or overexplaining the art. They involve self-reflection on artistic motivations, influences, processes, and common themes across one's body of work. Brief bios and blurbs that combine biographical and artistic information are also discussed.
Admit Me: Why College Application Essays and Artistic Statements MatterRebecca Joseph
Danielle is a singer and violinist who is applying to music programs. She shares her passion for singing through essays describing her experiences in music programs. She found her calling last summer focusing on music and science. A vocal program helped her gain confidence to pursue music in college. In her artistic statement for NEC, she details why their program is a good fit, allowing her to develop operatically and take classes in various styles and languages. Community performance opportunities also appeal to her. Her essays convey her dedication to music and suitability for intensive conservatory programs.
The artist creates hip-hop music to reach people around the world and speak on real life issues and personal experiences in order to help listeners who are struggling feel less alone. They select sounds, themes, and concepts by freeing their mind and letting ideas develop without control, then refocusing to redefine their goals. Currently, the artist is working on a mixtape and experimenting with various delivery methods, rhyme schemes, wordplay, and imagery in lyrics that make the audience feel like they know the artist.
The document provides guidance on writing an effective artist statement, including introducing yourself and your art. It recommends discussing your influences, values, choice of medium, and importance of subject matter. It contrasts a good example statement that prepares the reader for the artist's work with a poor example that is too lengthy, confusing and does not discuss medium choice. The document concludes by providing questions for artists to consider when writing their statement.
The document provides an overview of how to analyze and interpret artworks through a four step process: description, analysis, interpretation, and judgment. It discusses how art historical research helps provide context and external evidence to analyze what cannot be gleaned just from looking at the artwork. Interpretation involves uncovering what the artwork may mean based on description and analysis, though there are no definitive answers as artworks can mean different things to different people. The document also cautions that the artist's intention is not always a fixed idea and artworks are often meant to provoke thought rather than state a single meaning.
This document provides an overview of the critique process. It explains that a critique involves examining and evaluating creative works, which can be done alone, in small groups, or with large groups. Critiques are useful for understanding works, improving one's own work, and helping others. The rest of the document outlines different elements that can be critiqued, such as craftsmanship, the creator's ideas, comparisons to other works, emotional responses, questions, inspiration, formal principles, and connections to other works. It provides examples for each element and suggests ways critiques can be structured, such as through class discussions, partner work, self-evaluations, or written responses.
The document provides guidance on how to critically analyze and evaluate a work of art using a three-stage process of description, analysis, and interpretation. It emphasizes developing an objective understanding of the formal elements and composition, examining how these relate to design principles, and interpreting the work's meaning and value within historical, social and personal contexts. Critiquing art involves more than just personal opinions - it opens discussion about human experiences and cultural values that can shift over time.
This document contains 6 lesson plans for teaching art criticism and aesthetics using the Feldman method. The lesson plans cover a range of topics from introducing the Feldman method to analyzing messages and meanings in artworks. They are designed for middle school and high school students and aim to develop students' skills in describing, analyzing, interpreting and judging works of art.
The document provides guidance on how to critique a work of art using a four-step process: description, analysis, interpretation, and evaluation. It explains that the description step involves objectively describing formal qualities without opinions. Analysis examines design principles and composition. Interpretation considers themes, emotions, and meanings elicited. Evaluation judges the work's success in communicating its purpose based on the previous steps. The document argues that art criticism opens discussion of the human experience and allows examination of cultural values over time.
The document discusses the steps of art criticism, which are description, analysis, interpretation, and judgment. Description involves observing what is seen in the artwork. Analysis examines how the formal elements of art and principles of design are used in the work. Interpretation is determining what the artist was trying to communicate. Judgment evaluates whether the work is successful based on the previous steps. The document also provides examples of elements of art and principles of design, and defines a cinquain poem.
The document provides instructions for students to write Wikipedia entries on lesser-known Asian artists as part of an art criticism course. It discusses researching primary and secondary sources on the artists. It outlines the steps students will take to create Wikipedia pages following Wikipedia's guidelines, including gathering information on their allocated artist, reviewing anatomy and examples of Wikipedia articles, and writing and publishing their article along with a talk page note. The goal is for students to gain experience researching and writing about artists in an informative way for a public audience.
The document discusses the process of art criticism and analysis. It outlines Edmund Feldman's 4-step technique for analyzing art: description, analysis, interpretation, and judgment. It focuses on the analysis step, explaining that analysis involves asking "why" about various elements of the artwork based on internal evidence from the artwork itself and external evidence from context about the artist and time period. The document provides examples of analyzing Pablo Picasso's painting "Weeping Woman" using both internal and external evidence. It encourages analyzing art by carefully describing the artwork and asking questions.
The document outlines the four steps of art criticism:
1. Describe - Look closely and describe what you see in the artwork.
2. Analyze - Analyze how the artist arranged the formal elements like line, shape, and color. Think about how the parts relate.
3. Interpret - Try to understand the artist's intentions and meaning behind creative choices. What is the artwork saying?
4. Evaluate - Provide your opinion on the artwork. Did the artist succeed? What do you like or dislike?
The document provides instructions and tips for an assignment to write a descriptive paragraph about a paperclip. Students are asked to closely observe and "defamiliarize" the ordinary object of a paperclip through sustained visual attention in order to restore the strangeness of perceiving it. The assignment is due by July 6th, with further papers due on July 7th and 14th. Guidelines for the descriptive paragraph emphasize showing the reader what is seen in vivid language, focusing on describing the object itself without reactions or speculation, and using richly descriptive words to convey the object's appearance.
This document provides a guide to formal analysis of artworks. It discusses the key elements of form (physical aspects) and content (meaning). Formal analysis involves describing visual elements and analyzing their meaning. It then examines various formal qualities like the principles of design, elements of shape and space, qualities of line, effects of light, visual weight, color theory, and texture. The document provides questions to consider for each formal element when analyzing an artwork's form.
This PowerPoint presentation provides information on analyzing artwork. It begins by listing where the presentation can be accessed. It then outlines the learning aims, which include sharing opinions on artists' works, analyzing composition, subject matter, mediums, techniques, texture and color, and building confidence in interpersonal skills. The learning outcomes focus on defining key terms, identifying words for annotations, analyzing artwork using specific terms, and sharing opinions in groups. The presentation provides examples analyzing works by various artists such as David Hockney, Georgia O'Keeffe, Jim Dine, Peter Doig, and Roy Lichtenstein. It discusses techniques like juxtaposition and emphasizes analyzing composition, subject matter, content, mediums, techniques and
This document provides instructions for critiquing a piece of art. It outlines 4 steps: 1) Describe - list everything seen in the artwork, even if unknown; 2) Analyze - explain how lines, shapes, colors, textures are used; 3) Interpret - discuss what is happening and the intended message; 4) Decide - determine if the artwork is liked and why, and identify its strengths and weaknesses. Students are prompted to think critically about technical and compositional elements, as well as conceptual meaning. The goal is to analyze, interpret, and evaluate the effectiveness of the artwork.
This document provides guidance for students writing a narrative essay as the first step in a digital storytelling creative culmination project. It discusses what digital storytelling and narrative essays are, and encourages students to select a topic from a list of options. Students are then guided through brainstorming, outlining, drafting and revising their narrative essay. The document addresses common questions from students and provides examples and tips for narrowing topics and incorporating personal experiences into the narrative. The overall purpose is to help students develop the narrative that will form the basis for their digital storytelling project.
This document provides guidance on how to conduct a critique of creative works. It explains that a critique involves examining and evaluating creative works through discussion in order to help people understand and improve their own work and the work of others. It then outlines different elements that can be discussed in a critique, such as craftsmanship, the creator's ideas, comparisons to other works, emotional responses, questions, inspiration, formal principles, connections, and suggestions for structuring a critique. The overall purpose of a critique is to fully experience and understand creative works through an honest and constructive analysis and discussion.
WIP_101 Things I learned in Worksearch 2.0Aaron Downes
First created in 2011, I shared this with the network as a compilation of all the things I have learned working with them and working on my own Worksearch.
This document provides a framework for analyzing the artwork "Golden Ghosts" by Grayson Perry. It instructs the reader to consider the scene, materials, and keywords depicted in the image. It prompts an analysis of how the title contributes to understanding and connections to other works or themes. It asks the reader to infer the artist's intentions through describing elements in the image and issues addressed. It concludes by exploring how the materials and techniques support the work and achieving the artist's goals.
Drama in the making how to lay out working recordAarono1979
This document provides a template for students to structure a working record of their drama project on the Holocaust. It includes sections for introducing the topic, research conducted, initial ideas, character development, areas of study, rehearsal notes, and evaluations of pieces and the overall project. Students are guided to provide details on stimulus materials used, group discussions, practical exercises, research, chosen ideas and their influences. They must also analyze characters, narrative, and how their work relates to areas of study in drama including structure and genre.
This document contains instructions for creating lesson plans. It provides guidance on the required sections and content for the lesson plans, including objectives, standards addressed, procedures, materials, examples of artworks, and assessments. Students are expected to write three lesson plans on topics like color, texture, pattern, line, shape or value. The document outlines formatting and naming conventions for submitting the lesson plans digitally. It also notes requirements for citing sources and providing differentiated instruction for all students.
https://www.artjobs.com/
Artist Trust: https://www.artisttrust.org/grants/
Artist Relief: https://artistrelief.org/
Arts Council: https://www.arts.gov/grants
State Council: https://www.arts.gov/state-local-partners
Foundation Center: https://grantspace.org/
Grantmakers in the Arts: https://www.giarts.org/
Grants for Individual Artists: https://www.artworkarchive.com/blog/grants-for-individual-artists
Artist Opportunities: https://www.artistopportunities.org/
Call
The artist statement provides guidelines for creating an effective statement to describe an artwork to viewers. It emphasizes including information about the medium, materials, process, and other key details to help viewers understand the work. An example statement is provided that clearly explains the artist's process of discovering a new language through using a typewriter that communicates their struggle. Viewers' questions about the work are answered concisely. The document then provides tips for crafting an initial draft, such as collecting relevant information and composing thesis, body, and conclusion paragraphs. It stresses getting feedback and multiple revisions to produce a statement that effectively informs viewers without being overly explanatory.
This document provides an overview of the critique process. It explains that a critique involves examining and evaluating creative works, which can be done alone, in small groups, or with large groups. Critiques are useful for understanding works, improving one's own work, and helping others. The rest of the document outlines different elements that can be critiqued, such as craftsmanship, the creator's ideas, comparisons to other works, emotional responses, questions, inspiration, formal principles, and connections to other works. It provides examples for each element and suggests ways critiques can be structured, such as through class discussions, partner work, self-evaluations, or written responses.
The document provides guidance on how to critically analyze and evaluate a work of art using a three-stage process of description, analysis, and interpretation. It emphasizes developing an objective understanding of the formal elements and composition, examining how these relate to design principles, and interpreting the work's meaning and value within historical, social and personal contexts. Critiquing art involves more than just personal opinions - it opens discussion about human experiences and cultural values that can shift over time.
This document contains 6 lesson plans for teaching art criticism and aesthetics using the Feldman method. The lesson plans cover a range of topics from introducing the Feldman method to analyzing messages and meanings in artworks. They are designed for middle school and high school students and aim to develop students' skills in describing, analyzing, interpreting and judging works of art.
The document provides guidance on how to critique a work of art using a four-step process: description, analysis, interpretation, and evaluation. It explains that the description step involves objectively describing formal qualities without opinions. Analysis examines design principles and composition. Interpretation considers themes, emotions, and meanings elicited. Evaluation judges the work's success in communicating its purpose based on the previous steps. The document argues that art criticism opens discussion of the human experience and allows examination of cultural values over time.
The document discusses the steps of art criticism, which are description, analysis, interpretation, and judgment. Description involves observing what is seen in the artwork. Analysis examines how the formal elements of art and principles of design are used in the work. Interpretation is determining what the artist was trying to communicate. Judgment evaluates whether the work is successful based on the previous steps. The document also provides examples of elements of art and principles of design, and defines a cinquain poem.
The document provides instructions for students to write Wikipedia entries on lesser-known Asian artists as part of an art criticism course. It discusses researching primary and secondary sources on the artists. It outlines the steps students will take to create Wikipedia pages following Wikipedia's guidelines, including gathering information on their allocated artist, reviewing anatomy and examples of Wikipedia articles, and writing and publishing their article along with a talk page note. The goal is for students to gain experience researching and writing about artists in an informative way for a public audience.
The document discusses the process of art criticism and analysis. It outlines Edmund Feldman's 4-step technique for analyzing art: description, analysis, interpretation, and judgment. It focuses on the analysis step, explaining that analysis involves asking "why" about various elements of the artwork based on internal evidence from the artwork itself and external evidence from context about the artist and time period. The document provides examples of analyzing Pablo Picasso's painting "Weeping Woman" using both internal and external evidence. It encourages analyzing art by carefully describing the artwork and asking questions.
The document outlines the four steps of art criticism:
1. Describe - Look closely and describe what you see in the artwork.
2. Analyze - Analyze how the artist arranged the formal elements like line, shape, and color. Think about how the parts relate.
3. Interpret - Try to understand the artist's intentions and meaning behind creative choices. What is the artwork saying?
4. Evaluate - Provide your opinion on the artwork. Did the artist succeed? What do you like or dislike?
The document provides instructions and tips for an assignment to write a descriptive paragraph about a paperclip. Students are asked to closely observe and "defamiliarize" the ordinary object of a paperclip through sustained visual attention in order to restore the strangeness of perceiving it. The assignment is due by July 6th, with further papers due on July 7th and 14th. Guidelines for the descriptive paragraph emphasize showing the reader what is seen in vivid language, focusing on describing the object itself without reactions or speculation, and using richly descriptive words to convey the object's appearance.
This document provides a guide to formal analysis of artworks. It discusses the key elements of form (physical aspects) and content (meaning). Formal analysis involves describing visual elements and analyzing their meaning. It then examines various formal qualities like the principles of design, elements of shape and space, qualities of line, effects of light, visual weight, color theory, and texture. The document provides questions to consider for each formal element when analyzing an artwork's form.
This PowerPoint presentation provides information on analyzing artwork. It begins by listing where the presentation can be accessed. It then outlines the learning aims, which include sharing opinions on artists' works, analyzing composition, subject matter, mediums, techniques, texture and color, and building confidence in interpersonal skills. The learning outcomes focus on defining key terms, identifying words for annotations, analyzing artwork using specific terms, and sharing opinions in groups. The presentation provides examples analyzing works by various artists such as David Hockney, Georgia O'Keeffe, Jim Dine, Peter Doig, and Roy Lichtenstein. It discusses techniques like juxtaposition and emphasizes analyzing composition, subject matter, content, mediums, techniques and
This document provides instructions for critiquing a piece of art. It outlines 4 steps: 1) Describe - list everything seen in the artwork, even if unknown; 2) Analyze - explain how lines, shapes, colors, textures are used; 3) Interpret - discuss what is happening and the intended message; 4) Decide - determine if the artwork is liked and why, and identify its strengths and weaknesses. Students are prompted to think critically about technical and compositional elements, as well as conceptual meaning. The goal is to analyze, interpret, and evaluate the effectiveness of the artwork.
This document provides guidance for students writing a narrative essay as the first step in a digital storytelling creative culmination project. It discusses what digital storytelling and narrative essays are, and encourages students to select a topic from a list of options. Students are then guided through brainstorming, outlining, drafting and revising their narrative essay. The document addresses common questions from students and provides examples and tips for narrowing topics and incorporating personal experiences into the narrative. The overall purpose is to help students develop the narrative that will form the basis for their digital storytelling project.
This document provides guidance on how to conduct a critique of creative works. It explains that a critique involves examining and evaluating creative works through discussion in order to help people understand and improve their own work and the work of others. It then outlines different elements that can be discussed in a critique, such as craftsmanship, the creator's ideas, comparisons to other works, emotional responses, questions, inspiration, formal principles, connections, and suggestions for structuring a critique. The overall purpose of a critique is to fully experience and understand creative works through an honest and constructive analysis and discussion.
WIP_101 Things I learned in Worksearch 2.0Aaron Downes
First created in 2011, I shared this with the network as a compilation of all the things I have learned working with them and working on my own Worksearch.
This document provides a framework for analyzing the artwork "Golden Ghosts" by Grayson Perry. It instructs the reader to consider the scene, materials, and keywords depicted in the image. It prompts an analysis of how the title contributes to understanding and connections to other works or themes. It asks the reader to infer the artist's intentions through describing elements in the image and issues addressed. It concludes by exploring how the materials and techniques support the work and achieving the artist's goals.
Drama in the making how to lay out working recordAarono1979
This document provides a template for students to structure a working record of their drama project on the Holocaust. It includes sections for introducing the topic, research conducted, initial ideas, character development, areas of study, rehearsal notes, and evaluations of pieces and the overall project. Students are guided to provide details on stimulus materials used, group discussions, practical exercises, research, chosen ideas and their influences. They must also analyze characters, narrative, and how their work relates to areas of study in drama including structure and genre.
This document contains instructions for creating lesson plans. It provides guidance on the required sections and content for the lesson plans, including objectives, standards addressed, procedures, materials, examples of artworks, and assessments. Students are expected to write three lesson plans on topics like color, texture, pattern, line, shape or value. The document outlines formatting and naming conventions for submitting the lesson plans digitally. It also notes requirements for citing sources and providing differentiated instruction for all students.
https://www.artjobs.com/
Artist Trust: https://www.artisttrust.org/grants/
Artist Relief: https://artistrelief.org/
Arts Council: https://www.arts.gov/grants
State Council: https://www.arts.gov/state-local-partners
Foundation Center: https://grantspace.org/
Grantmakers in the Arts: https://www.giarts.org/
Grants for Individual Artists: https://www.artworkarchive.com/blog/grants-for-individual-artists
Artist Opportunities: https://www.artistopportunities.org/
Call
The artist statement provides guidelines for creating an effective statement to describe an artwork to viewers. It emphasizes including information about the medium, materials, process, and other key details to help viewers understand the work. An example statement is provided that clearly explains the artist's process of discovering a new language through using a typewriter that communicates their struggle. Viewers' questions about the work are answered concisely. The document then provides tips for crafting an initial draft, such as collecting relevant information and composing thesis, body, and conclusion paragraphs. It stresses getting feedback and multiple revisions to produce a statement that effectively informs viewers without being overly explanatory.
This document discusses the complexities that arise in art critiques when a teacher evaluates a student's artwork while also interacting with the student artist directly. It notes:
1) A teacher inherently forms assumptions about the artist based solely on viewing their artwork, though these assumptions are often incorrect.
2) When the student is present, the teacher must reconcile their assumptions about the artist based on the artwork with their impressions of the student's personality.
3) Having a discussion with the student adds another layer of complexity, as the teacher now has three different impressions to consider - what the artwork implies, what the student looks like, and what they say about their work.
4) Alignment or disconnect between these three
This document provides tips for presenting yourself as an artist. It emphasizes that successful artists build mutually beneficial relationships and networks, in addition to technical skills. It advises researching target galleries and funders, identifying the best ones to approach, and planning how to position your work. Artists should be clear about their message, follow up appropriately, and keep engaging and being engaged when communicating about their work. Proper presentation involves determining the right narrative and language to describe your practice.
Artist' Statement: writing about your work workshopDeborahJ
This document provides guidance on writing an artist's statement to contextualize one's studio work. It addresses common fears and objections around writing about one's work. The document recommends that statements explain one's ideas, inspirations and process in clear, unpretentious language for the intended audience. It should not be a resume or biography, but rather deepen understanding of the work. The workshop aims to help artists develop statements through discussion and reflection on their work and each other's. Statements should be concise, around 150 words and reference influences, intentions and methodology to promote understanding of the work.
In their A2 coursework production, the author created representations of gender, class, and location in their British soap opera. Specifically, they constructed gender performances of femininity through female character archetypes like "the tart" and "the gossip" that related to each other in supportive or combative ways. They also created representations of working class masculinity through male character archetypes like "the villain" and "the hero." The author analyzes how these representations may be received by the audience based on media theories like gender performance theory, audience reception theory, and mirror theory. They consider whether the audience may identify with or reject the various representations presented to them. In conclusion, the author reflects on whether their work presented a variety of
PJ Liguori is a British/Italian YouTube and film producer known for works like Tiny Planet Explorer (2012) and Oscars Hotel for Fantastical Creatures (2014-2015). He enjoys experimenting with different film roles and believes in trying new things. Es Devlin is renowned for imaginative set designs that complement performances. Her 2017 opera stage in Austria was complex and symbolized the story. Neil Gaiman is a prolific writer known for works like Coraline and Neverwhere. He encourages creatives to write for pride over money and see mistakes as a sign of progress.
This document discusses the differences between science, art, and design. It provides a table that outlines key differences in how each subject approaches concepts like logic, creativity, goals, and the role of technology. For example, science aims mainly at discovery while art aims at both discovery and invention. Design tries to change the world with a certain expression. The document also discusses how science seeks commonalities, art uplifts special cases, and design uplifts specials for the common.
The Creative Career (Girls Unlimited April 2015 Keynote)Cheryl Platz
Redmond's Girls Unlimited program hosts annual workshops focusing on career options for young women in the area. In 2015, I was invited to return for my second Girls Unlimited keynote talk, this time focusing on my career in the arts - both in interaction design and in acting. The talk ends with a number of calls to action that are applicable to any beginning artistic career.
This document provides guidance on how to create effective political art. It recommends finding inspiration by researching what other artists have done, focusing the artwork around a single clear message, and considering how to reach a large target audience. The document also suggests being bold in challenging audiences but not offensive. Artists should follow the creative process wherever it leads and write a statement explaining their work. The artwork should be kept relatively small in size or scale.
This document provides an overview of creative writing. It begins by outlining the session objectives, which are to differentiate creative writing from other types of writing, understand creative writing genres, learn writing techniques, and write short paragraphs. It then defines creative writing as original, artistic, and self-expressive works that entertain and share human experiences through imagination, as seen in poetry, fiction, and plays. The document lists characteristics of creative writing such as clarity, form with a beginning, middle and end, emotional impact, meaning and connection, and skilled use of language. It provides examples of creative writing genres and concludes by emphasizing that creative writing is both an art of self-expression and a discipline that can be learned and improved with practice
This essay should be 1,000 words and the instructions are below.blossomblackbourne
This essay should be 1,000 words and the instructions are below.
PART I. DESCRIBE in detail the art works from an objective standpoint. Act as if you are writing for an audience who hasn’t seen or experienced the artwork(s). Your reader (me) is only able to experience the work(s) through your words. It is your responsibility to look at the work(s) as objectively as possible and articulate these findings to me. Your reader depends on YOU to make the appropriate word choices, to consider what the artist may or may not be doing. Use descriptive words and significant details to create a mental picture for your reader. The more specific, objective, and clearer you are, the better. Avoid clichés (“beauty is in the eye of the beholder”) and sweeping generalizations. You should avoid reading anything about the work other than: the title, the artist’s name, and the material used (for visual art works). The whole purpose of this assignment is to help you to learn how to trust your own abilities to observe, using your own senses, and make conclusions as these are essential skills for any life work.
PART II. ANALYZE the aspects of the work(s) you choose to describe. Interpreting means that you attempt to understand what the work is communicating, using the elements from the work to back up your points. Basically, you are acting like detective who uses the clues to figure out what it means. Remember to be careful to not assume something that isn’t there. The evidence (aspects of the work) tells you what you think it is conveying. There is no perfect interpretation; however, you must be careful that the work described fits with your analysis. Think about the choices the artist made and why he/she did it that way. What may have been the point? To educate? To inspire? To make you feel a certain way? To get you to see better? To make you uncomfortable? To stimulate your imagination?
PART III. EVALUATE the work(s). Now, be subjective. Tell your reader how you felt or thought about the work(s). If you like or dislike some aspect of it, do not simply state this, give reasons for why the works of art affected you the way it did. In other words, think about how the artistic choices influenced your experience of the event. It is your job to convince the reader of your aesthetic judgment using evidence; mere statements of the experience being "bad" or "good" do not tell your reader why it is worth seeing or not. Remember, you are being responsible to your reader by considering that she does not have your same perspective, so you must consider that as well. This is an important aspect of the essay, so don’t forget to write about it!
PART IV. CONCLUDE with a paragraph or two that addresses the arts in general as agents of cultural change, as purveyors of ideas and emotional states, or as communicators of values. In YOUR OWN WORDS, tell your reader how any artist’s choices and actions (the work itself being an active form of ...
My Words Jump Off the Page! Editor Tips to Enhance Writing.19.1012.TPLvIDEAn Unlimited, LLC
This document provides a summary of an editor's career and qualifications. It then outlines tips for choosing an editor and preparing a manuscript for editing. Some key points include asking questions about the editing process, format requirements, and turnaround time. Editing techniques like using track changes and searching for common issues are also covered. The document concludes with examples of developing compelling writing through techniques like active voice and deep point of view.
This document summarizes the background and skills of an artist named Raechel Gasparac. She was born in Canada but moved to Texas at age 11 where she began pursuing fine arts. She studied graphic design and was on the dean's list for several semesters. In college, she was the president of the creative arts club and won awards for her poster designs. She has over 11 years of experience in areas like graphic design, film editing, photography, and live theater. She creates multimedia projects that challenge her and has led creative teams and startups.
The document provides guidance on critically reviewing a drama work. It outlines a 5-step general process for analyzing a drama: 1) Examine the title, 2) Read the play, 3) Examine the play by parts, 4) Determine the tone, and 5) Study the ending. It also lists questions to ask about the theme, characters, setting, imagery/symbolism, plot, and language to help uncover the playwright's purpose and meaning. Finally, it provides tips for presenting the review such as starting with an introduction and thesis, making points with evidence, and concluding to tie the analysis together.
The document provides instructions for writing a report about an artwork from the Google Arts & Culture website. It involves 4 steps: 1) selecting a museum and artwork on the site, 2) analyzing the subject matter, form and materials of the artwork, 3) analyzing the historical/cultural context and theme, and 4) discussing how the artwork is installed at the museum. The report should be 1000 words long and include citations from at least two sources using MLA style formatting. Questions are provided under each section to guide the analysis and discussion in the report.
This document provides an overview of Module 5 of the Soul Proprietor course on communicating as a creative entrepreneur. It discusses the importance of communication in selling work and introduces concepts like non-violent communication, the four gates of speech, and creating an artist statement. Examples of effective artist statements are provided. Students are challenged to write their own statement and are given tips on communicating through emails, calls, and in-person. The document emphasizes connecting authentically with clients through honest, kind, and thoughtful communication.
The document provides an introduction to art and reasons for creating art. It discusses art as a form of high-level thinking that allows people to share human experiences and appreciate beauty. The document also addresses common misconceptions that art is too difficult or complex, and explains that understanding basic elements and principles of art is similar to understanding the basic structure of written language. It encourages readers to challenge themselves and not give up, and overviews what students will learn in an art class.
This document provides an overview and analysis of clichés in business communication. It begins by defining a cliché as an overused expression that has lost its original meaning or effect. It then discusses the origins and hidden meanings of the term "cliché" and identifies different types of clichés. The document analyzes what is wrong with using clichés and provides tips for handling or avoiding clichés, such as thinking about the basic meaning and deciding if the expression is needed. It also lists examples of common business clichés that are best avoided. The overall purpose is to raise awareness of clichés and provide guidance on using more original language in professional settings.
Top 10 Powertips for Speaking with PassionRae Stonehouse
Have you noticed audience members snoring during your presentations?
Have you been thinking that your audience has been agreeing with you when they are really dozing off?
Have you been advised that your presentations need more life?
Rae Stonehouse DTM aka Mr. Emcee provides sage advise on how to add passion to your presentations.
This document provides guidance on creating an artist portfolio, including whether to use a physical or digital format. It recommends first creating a digital portfolio, and also including a physical one for situations involving in-person interactions. Portfolios should include 10-20 high quality examples tailored to the purpose. Common presentation formats discussed include PDF, PowerPoint, browser-based viewers, and web-based options. The document also provides tips for preparing images, such as resizing to 72ppi and cropping without borders.
This document provides instructions for a fieldwork assignment involving drawing numbers from one's birthdate in different forms on sketchbook pages. Students are asked to fill a minimum of one page per number in their birthdate with varied drawings of that number. For a second part of the assignment, students are to do thumbnail sketches combining the number forms in compositional arrangements that subtly evoke their birth season, paying attention to negative space and dynamics without being too literal.
Deconstructive analysis is a critical method that allows one to determine meaning from ambiguous situations, discover unintended meanings beneath surface-level interpretations, and gain fresh insight into the social and cultural contexts where images and objects circulate. It recognizes that meaning is not stable or singular and is influenced by context.
The document discusses fundamental concepts of design including spatial orientation, movement, shape, form, space and their relationships. It states that human beings perceive three primary directions of orientation - horizontal, vertical and depth. Movement is defined as a change in position relative to these three planes. It explores how a point becomes a line with motion, a line becomes a plane when moved perpendicularly, and a plane becomes a solid through similar movement. Shape is planer while form is dimensional, with continuity transforming shapes into forms. Space is defined both by and around objects, and is not empty but filled with energy, tension and meaning.
The document discusses various aspects of design including materials, processes, style, function, site placement, and association. It examines conventional and unconventional materials as well as additive, subtractive, plastic, and modular processes. Style is explored through versimilitude, naturalism, stylization, abstraction, relief, elements, and principles. Function, site placement, and cultural and personal association are also mentioned.
The document discusses concepts related to sculpture and design including styles, elements, principles of design, stability and dynamics, balance, and types of balance. It addresses how forms can appear stable or dynamic based on their orientation, how contact with ground planes influences dynamics, and how shape influences dynamics. It also defines four categories of balance: physical, visual, environmental, and conceptual.
The document appears to be an artist's statement or biography listing several of their artworks from 1989 to 2010. The works are varied in medium, including woodcuts, paintings, and sculptures. The titles of the artworks suggest they explore themes of nature, science, philosophy and the human condition.
Performance art is a type of artistic production that focuses on actions done in specific locations over a particular period of time. It has its roots in avant-garde movements of the early 20th century like Futurism and Dadaism. Some trace its origins back even further to ancient rituals and rites of passage. Key early performance artists include Chris Burden, Carolee Schneemann, and Vito Acconci, whose body-based works explored taboo and transformative themes. Performance art incorporates concepts and techniques from various genres including visual arts, music, and theater.
4. Case Study
Artist Statement
"If you dig something, you just dig it." -Andy Warhol Why
do we dig? To reach the cool earth beneath the surface. To
bury the dead. To bury treasure, to search for buried
treasure. To escape captivity. To hide, to mark, to hunt. To
explore; search; mine. To dig is to work. When a dog digs
a hole, she is not destroying the earth, but displacing it,
altering its form to create something, in this case a void. An
opening, an entrance. Evidence of work. But how can the
absence of matter signify creation? Perhaps a dog in her
subjugated status has no choice but to convey her work in
the negative. By appropriating the perceived nothingness of
the human world and re-presenting it as her own species'
new ideal of signification, she empowers herself in a
powerless position. With the use of transfer paper a dog is
able to literally transfer her works into a tangible form.
Something for humans to hold and behold. A piece of work.
5. Case Study
…As a woman, and as a dog, Tillie is faced with myriad
barriers. While the obstacles that women artists face in their
struggle to gain the acceptance and respect of the
mainstream art establishment are certainly great, most
human women still possess the means to explore creation on
their own terms. They have the luxury, if you will, to choose
their medium, to select their materials and to decide where
and when they are willing to show their work. Women
likewise possess the voice to verbally articulate their
intentions, their vision. Tillie, as a woman and as a dog, is
faced with endless affronts and barriers to her artistic
expression.
Up until this point the art community has been closed to the
forces of canine expression. Today the world accepts Tillie as
an important voice for her species and our own. Still, the
works are fraught with limitations, with barriers. As a dog,
Tillie lacks the wherewithal to select her medium, even to
choose the colors with which to work. She has little choice as
to where and when the creative process will take place. And
she has virtually no say as to where, when and to whom her
work will be shown…
6. Case Study
One objective of the artist is to remove the layers of material
covering the meaning beneath. It is through documenting this
process of removal that the meaning is essentially created.
Layers also speak as metaphors for the barriers which he
artist must overcome through the course of her work…
… These layers of limitations, or barriers, can be likened to
the barriers of tape and transfer paper that separate Tillie
from the raw canvas and the completed work itself. But it is
by confronting these barriers, and working through them, that
the finished piece is created. An artist is not always aware of
the outcomes, products, effects and side effects of specific
methods, techniques, behaviors and applications until after a
work is done. Tillie often works in partial or complete
darkness. By working in darkness, underground, instinctively,
the dog reveals her natural inclinations to work, to root, to
dig, to destroy to create. It is through her art that Tillie is able
to convey a message of strength and struggle, work and play,
that might otherwise be lost to the world.
7. Case Study
So what can we learn from this parody of an artist’s statement?
The Good:
• Often uses active verbs and vivid descriptions
• Consistent narrative arc
• Connects the work to something outside of the
art domain
8. Case Study
So what can we learn from this parody of an artist’s statement?
The Bad:
• Attempts to justify rather than orient readers to
the work
• Turgid, florid and hyperbolic
• Lots of over-reach
9. Case Study
So what can we learn from this parody of an artist’s statement?
The Ugly:
• Not a good faith effort to understand the
work
• This is nearly all marketing and very little
reflection.
10. Artist Statements
Purpose/ Function
self analysis marketing
personal “mission statement” propaganda
11. Artist Statements
Purpose/ Function
self analysis introduction marketing
personal “mission statement” propaganda
13. Artist Statements
Style
Discursive approach
Rhetoric
Specificity/generality
Over-reach/hyperbole
14. Artist Statements
Style
In the following bad examples grabbed from
the internet notice the use of romantic, turgid
rhetoric, lack of specificity and the the
consistent examples of hyperbole and over-
reach.
We can label these:
“Romantic Redolence”
“Poetic Pomposity”
“Simplistic Simplicity”
19. Purpose
Writing an artist’s statement is difficult
because if the work is any good, it is
very often complex—operating on many
formal and conceptual levels.
A successful statement in most cases
cannot accommodate all these levels,
so it must condense, prioritize, and
often ignore some of them. Do not think
of the statement as “capturing” or
“defining” the work. You are not trying
to explain the work away. Think of it
as a roadmap that helps viewers
orient themselves to your work and
concerns.
20. Purpose
An artist statement should serve as an
introduction to your work and concerns.
Like all good introductions, when
meeting someone for the first time,
Avoid TLI (Too Little Information)
Avoid TMI (too Much Information)
21. Purpose
An artist statement is not:
a justification: If you feel like you need to justify the work then you
should probably be making different or better work.
an artist bio: Include personal history only as it directly relates the
work.
a résumé: This is not the place to talk about any awards that the
work may have won, or shows it was in. Usually it’s bad form to
quote from reviews. It’s always bad form to quote yourself.
a catalog raisonne or a work chronology: “First I did this, then I
did that, then I did the other… It’s ok to talk about process or how
one work leads into another but you need to talk about how or why
one thing led to another.
23. Preparation
Before you attempt to write the
statement, take some time to write out
answers to the following questions.
YOU ARE NOT WRITING THE
STATEMENT YET! Just get your
answers down on paper. Do not over
think it or worry about grammar.
Really dig. Do not let yourself off the
hook with superficial answers.
Spending some time answering these
questions will pay off in an artist
statement that is more informative and
compelling, and it will make writing the
statement MUCH easier:
24. Preparation
Why do you do what you do?
Why, of all the things that one could
choose to do and be in the world
would anyone, let alone you, want
to be an artist?
25. Preparation
Why the materials and processes
you use? Why paint and not
prints? Why clay? What’s the
attraction? Why wheel rather than
hand built, or additive instead of
subtractive? DIG! “…because I like
it” (it feels right, I enjoy it, because
I hate…, I was drawn to) does not
answer anything. WHY? Is the
question you need to answer.
26. Preparation
Who or what are the most
important influences and
experiences that have shaped
your life and your work?
27. Preparation
What does the work look like?
Take a representative piece and
describe it as if you were talking to
the blind or to your mother on the
telephone. Use descriptive
adjectives and dynamic verbs. Do
not overlook the obvious.
28. Preparation
What ties most of the work
together? What identifies your
work as yours and not hers? Look
over a long span. Are there formal
or conceptual threads that many of
artworks seem to be revisiting over
and over again?
29. Writing
Use the “sap to syrup” method.
It takes over 40 gallons of sap to
make 1 gallon of syrup. Write 2 to
5 pages. Boil that down to a page
and a half. Then edit that to a
page. Edit the page to a
paragraph. This works especially
well because you really need 3
artist statements:
31. Writing
Three Statements
1. The “academic” version. 500-1500 words.
Good for applying to academic positions, for catalogues or brief
presentations.
2. The “gallery” version. 200-500 words.
Good for catalogues, applying for shows, wall statements
3. The “press” version. 25-100 words. Good
for fliers, press listings, promotional material, exhibition listings.
Often combined with a distillation of the artist’s bio to form the
“blurb”.
32. Writing
• Don’t write “I think”, I believe”, or
“I feel”. You are writing it! It’s a
given. Avoid over- equivocation.
•Try to avoid over use of “I”, “my”,
“me”, “mine” use instead “These”
and “The”
33. Writing
Avoid too many comparisons to
well known artists. You will usually
lose in the comparison.
Always distinguish how your work
or concerns are different from
theirs, as well as any similarities.
34. Writing
Avoid pseudo adjectives:
interesting, beautiful, distinctive,
exciting, personal, unique,
pleasing, harmonious etc.
Also avoid redundant modifiers
that just pad the sentence.
Examples: painful toothache,
sharp needle, weighty concrete,
colorful paint, etc.
Here’s the test: Does the modifier
clarify the image?
35. Writing
Limit yourself to using the
word “juxtaposition” only
once in the statement.
Better still, try not to use it.
37. The Takeaway
If you haven’t learned anything
new about your work in the
process of writing an artist
statement then you are not
digging deep enough. You need
to be more perceptive, critical,
descriptive and self-reflective.
38. The Takeaway
An artist statement should
serve simply as an engaging
introduction to your work and
concerns.
39. The Takeaway
Share your mania.
Focus on what motivates you to
make the work that you do.
Make your interest, investment
and excitement infectious.
Editor's Notes
Facts, skills, and techniques are the easiest part of what we do as teachers, (which, by the way, is not to say it’s easy!) Teaching the students how to learn—from their professors, their peers, their culture, their discipline and most of all from themselves, from all of their sense experiences, from their failures and successes, that is a bit trickier. But if there is consensus that these abilities are precisely the ones that art and design students need to succeed, then can we really afford to not tackle them head on?
Facts, skills, and techniques are the easiest part of what we do as teachers, (which, by the way, is not to say it’s easy!) Teaching the students how to learn—from their professors, their peers, their culture, their discipline and most of all from themselves, from all of their sense experiences, from their failures and successes, that is a bit trickier. But if there is consensus that these abilities are precisely the ones that art and design students need to succeed, then can we really afford to not tackle them head on?
Facts, skills, and techniques are the easiest part of what we do as teachers, (which, by the way, is not to say it’s easy!) Teaching the students how to learn—from their professors, their peers, their culture, their discipline and most of all from themselves, from all of their sense experiences, from their failures and successes, that is a bit trickier. But if there is consensus that these abilities are precisely the ones that art and design students need to succeed, then can we really afford to not tackle them head on?