Tuesday, September 27, 2016
Working in studio today
Just a reminder – and for those of you who weren't in the last class – today is a work-in-the-studio day. I'll be around, but you don't have to show up for class.
Tuesday, September 20, 2016
re-posting for the interviews
UNDERLINE what you think are the main, most interesting quotes in the article, and in a brief sentence for each, explain why you think those quotes are particularly interesting.
ASTERISK any words or names you don't know, and look them up, providing definitions/brief bios.
MAKE A VOCABULARY LIST of what you think are the key terms and concepts the artist is talking about.
SUMMARIZE the world view of the artist, as it appears in the interview. What is the artist's work "about?" What sorts of historical, social, political, formal, and aesthetic ideas does the artist's work engage?
ASTERISK any words or names you don't know, and look them up, providing definitions/brief bios.
MAKE A VOCABULARY LIST of what you think are the key terms and concepts the artist is talking about.
SUMMARIZE the world view of the artist, as it appears in the interview. What is the artist's work "about?" What sorts of historical, social, political, formal, and aesthetic ideas does the artist's work engage?
SOME QUESTIONS TO ADD
HERE ARE SOME QUESTIONS FOR YOU TO INTEGRATE WITH YOUR "WORKING ARTIST" QUESTIONS LIST
(as you can see, they're pretty blunt about the "making a living" part - by next class, please have all your questions finalized, and printed out in a copy you'll hand in to me)
(as you can see, they're pretty blunt about the "making a living" part - by next class, please have all your questions finalized, and printed out in a copy you'll hand in to me)
How much of your annual income comes from your art, and how much comes from other sources?
What percentage of your time do you actually spend working in your studio? And what do you spend the rest of your life doing to support that time?
Do you belong to any professional associations? If so, why? What are the advantages that membership provides you?
Do you belong to a wider artist's community, beyond any professional associations? What is that community, and why do you participate in it?
Who is your audience? Who buys your work? Does your audience consist of one consistent demographic, or different demographics? How have you expanded your audience over time? How do you market your work?
What sort of education and/or training have you pursued in your career as an artist? Was it worth it? What were the most valuable things you've taken away from your education or training?
Does your art practice have an impact on the way you do your taxes? If so, how?
What sorts of legal issues, if any, have you had to deal with in making or selling your art?
questions
What was the most pivotal point in your career and why?
What really got the ball rolling for you?
What has been your biggest artistic influence?
What are some things you have done to keep you financially afloat?
What really got the ball rolling for you?
What has been your biggest artistic influence?
What are some things you have done to keep you financially afloat?
Thursday, September 15, 2016
At what point in your life did you realize that you had the needed to be creative?
How did you balance making a living, and keep making work?
What inspires you/ motivates you to keep making work?
In your opinion whats the best way to get into the art world?
What is one piece of advice you would now give yourself when you were younger?
How did you balance making a living, and keep making work?
What inspires you/ motivates you to keep making work?
In your opinion whats the best way to get into the art world?
What is one piece of advice you would now give yourself when you were younger?
Wednesday, September 14, 2016
Tuesday, September 13, 2016
- How do you make a living with making your work?
- What would you be doing if you weren't an artist?
- How do you manage your time?
- How do you balance your love life?
- Did you go to grad school right after your undergrad? Residencies?
- How did you get into galleries?
I watched videos of Beth Cavner Stitchter's work and Arthur Gonzalez's work.
I don't have a print out of any of them.
Monday, September 12, 2016
Tuesday, September 6, 2016
For Thursday, Sept 08
ARTIST INTERVIEWS:
By next class, bring contact info for your three potential artist interviewees, and at least five questions you intend to ask your artist (you might use the same five questions regardless of who you end up interviewing, but you also might have some questions that are specifically tailored to each potential artist. You will only need to conduct one interview for the purposes of this class, but as I said before, please have two fallback options).
MORE INFO FOR YOUR ARTIST INTERVIEW
Your interview subject should be someone who is doing something you'd like to be doing, after you're out of school -- or perhaps simply someone whose work interests you on some level. You will be interviewing them about how they do their work -- not in terms of art technique (although if that interests you, that could be part of the interview), but how they've arranged their life so they can do work that is meaningful to them. Maybe they're not making their own artwork full time, but they've made space in their lives to feel their artistic impulses somehow.
How have they, logistically, made it work for them to do the sort of work that they're doing? How has their career progressed and developed?
Come to class with at least five potential questions to ask them. If you want to make an initial contact with them before now and then, that would probably be smart, but don't schedule the interview itself until after we've had a chance to develop interview questions further, in Wednesday's class. I'd recommend saying you'd like an interview of about 20 or 30 minutes. You can frame it like this:
"I am taking a class called Professional Practices, and part of the aim of the class is to think about how, practically, we will pursue art-making after we graduate from school. One of the projects is to interview an artist about their career -- how it has progressed, and how they have managed to balance their work and their life. The Professor has asked us to gather information about the practical, logistical and business side of art practice. I know that some artists are reluctant to get into the details of that aspect of their work, but if you would be available for a 20 to 30 minute interview on that topic, I'd be very grateful." Obviously you can make it more specific to your target interviewee.
CLOSE READING:
I am going to have you do a "close reading" of two interviews with artists, one this week (due Thursday 9/8), and one next week (due Thursday 9/15). Find two artists whose work has something in common (in terms of themes or style) with your current work. One artist should be a living, contemporary artist, and one should be a dead artist (a 20th century or earlier artist would be ideal). Look up a substantial interview with each artist, print out or copy the interview, and mark up the interview using the following format. You will probably have to add a page or two of commentary to expand on some of these elements. I have no preference whether you do the close reading of the contemporary artist or the dead artist first.
UNDERLINE what you think are the main, most interesting quotes in the article, and in a brief sentence for each, explain why you think those quotes are particularly interesting.
ASTERISK any words or names you don't know, and look them up, providing definitions/brief bios.
MAKE A VOCABULARY LIST of what you think are the key terms and concepts the artist is talking about.
SUMMARIZE the world view of the artist, as it appears in the interview. What is the artist's work "about?" What sorts of historical, social, political, formal, and aesthetic ideas does the artist's work engage?
There are two purposes for this assignment – one, to give you potential avenues for talking about your work by example, and two, to potentially broaden your set of contemporary and historical art references when talking about your work. In one form or another, the work you're making now is in conversation with artworks and aesthetic questions that may be decades or centuries old – hopefully this exercise will help you position yourself in that conversation in the most articulate way possible.
By next class, bring contact info for your three potential artist interviewees, and at least five questions you intend to ask your artist (you might use the same five questions regardless of who you end up interviewing, but you also might have some questions that are specifically tailored to each potential artist. You will only need to conduct one interview for the purposes of this class, but as I said before, please have two fallback options).
MORE INFO FOR YOUR ARTIST INTERVIEW
Your interview subject should be someone who is doing something you'd like to be doing, after you're out of school -- or perhaps simply someone whose work interests you on some level. You will be interviewing them about how they do their work -- not in terms of art technique (although if that interests you, that could be part of the interview), but how they've arranged their life so they can do work that is meaningful to them. Maybe they're not making their own artwork full time, but they've made space in their lives to feel their artistic impulses somehow.
How have they, logistically, made it work for them to do the sort of work that they're doing? How has their career progressed and developed?
Come to class with at least five potential questions to ask them. If you want to make an initial contact with them before now and then, that would probably be smart, but don't schedule the interview itself until after we've had a chance to develop interview questions further, in Wednesday's class. I'd recommend saying you'd like an interview of about 20 or 30 minutes. You can frame it like this:
"I am taking a class called Professional Practices, and part of the aim of the class is to think about how, practically, we will pursue art-making after we graduate from school. One of the projects is to interview an artist about their career -- how it has progressed, and how they have managed to balance their work and their life. The Professor has asked us to gather information about the practical, logistical and business side of art practice. I know that some artists are reluctant to get into the details of that aspect of their work, but if you would be available for a 20 to 30 minute interview on that topic, I'd be very grateful." Obviously you can make it more specific to your target interviewee.
CLOSE READING:
I am going to have you do a "close reading" of two interviews with artists, one this week (due Thursday 9/8), and one next week (due Thursday 9/15). Find two artists whose work has something in common (in terms of themes or style) with your current work. One artist should be a living, contemporary artist, and one should be a dead artist (a 20th century or earlier artist would be ideal). Look up a substantial interview with each artist, print out or copy the interview, and mark up the interview using the following format. You will probably have to add a page or two of commentary to expand on some of these elements. I have no preference whether you do the close reading of the contemporary artist or the dead artist first.
UNDERLINE what you think are the main, most interesting quotes in the article, and in a brief sentence for each, explain why you think those quotes are particularly interesting.
ASTERISK any words or names you don't know, and look them up, providing definitions/brief bios.
MAKE A VOCABULARY LIST of what you think are the key terms and concepts the artist is talking about.
SUMMARIZE the world view of the artist, as it appears in the interview. What is the artist's work "about?" What sorts of historical, social, political, formal, and aesthetic ideas does the artist's work engage?
There are two purposes for this assignment – one, to give you potential avenues for talking about your work by example, and two, to potentially broaden your set of contemporary and historical art references when talking about your work. In one form or another, the work you're making now is in conversation with artworks and aesthetic questions that may be decades or centuries old – hopefully this exercise will help you position yourself in that conversation in the most articulate way possible.
Thursday, September 1, 2016
RESIDENCIES
- learning new cultures seems like a great way to influence your work as well as further your view and perception of art as a whole.
- hearing her experience gave me a solid new look on residencies and what they kind of have to offer, yet all are different everyone seems to strive for similar goals
- I find it very appealing and I would like to look into it and see what there is to offer in different places all over the world
- I enjoyed the talk 🤘🏻
- learning new cultures seems like a great way to influence your work as well as further your view and perception of art as a whole.
- hearing her experience gave me a solid new look on residencies and what they kind of have to offer, yet all are different everyone seems to strive for similar goals
- I find it very appealing and I would like to look into it and see what there is to offer in different places all over the world
- I enjoyed the talk 🤘🏻
Miranda's recidency experience
What I took out of Miranda's talk was that I really need to light a fire under my butt and finish my website! Having a website is huge as an artist and having a web presence is huge. It's a good way to apply to residencies. Having an instagram is good, but there is a whole generation that doesn't use instagram.
Guna tribe in panama canal
Indigenous waste.
Culture is really important
Want to do a residency
Molas work- think about my sewing and how its around the
world and something really concrete and historic. I would like to incorporate into
my work.
Kickstarter or go fund me with rewards
Individual work is important
Seems like Miranda was a good traveler
Being in this mode is really helpful and good for making
connections
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