Application for art programm - new text

Question

I worked through my text - here is my new version...
Hope, that it answers the question now. Could you help me correct the text?

The question:

What contribution do you expect from the visiting artists and theoreticians and/or technical advisors? How would these contact contribute to your work.
Max. size 1 a4 (55 lines)

My answer:

Since I heard about this programm through the artist ***, I began to collect information about it and I was immediately convinced that I will apply for it.
I see many benefits in participating at this programm. The *** provides a context that fosters concentration on work, reflection and discussion – thats exactly what I need at this stage of my development, it will let me broaden my horizons.

I understand that the programm is studio based, so discussion and reflection is focused on me individually rather than in a class situation, so this will lead me to greater success and independent follow through after completion.

I expect that the visiting artists bring in their own depth of knowledge in there disciplins as well as there core of experience in the artworld.

Intensive workshops, in which I have the chance to study the materials, tools, theory and methodology of professional practice at a high level will help me to understand how various art forms complement one another and create practical cross-disciplinary approaches that extend and support my already existing work.

In the technical workshops I wish to develop new skills needed for responding to the varied and complex challenges leading to put am idea or a feeling into an visual context.

It is my belief that while fundamentals and technical expertise are important to visual arts, they must be regarded as the means to the end, not the end product. They allow for the articulate presentation of my statement. To me, the most important aspects of a work of art are the ideas and concepts that form the content and meaning. I believe this opinion to be found in the rijksakademie as well.

Since I worked with/for some artists (***) in the last years I became acquainted with so many different ways of “being artist”, the working process and also kinds of attempts and methods that it is quite difficult for me to point out exactly what I expact from all the “experts” I would meet at the ***.

I hope for an atmosphere of help and advice, where I can focus on new points of view, discussions, controversies, sometimes concrete help … - everything but “fixed solutions”.

MountainHiker · Accepted Answer

Tanja,

You are still completely missing the question. You are answering some other question. If I had to guess, you are answering, "what do I want to get out of your art program?"

Let's be very clear: What do you want or expect the visiting artists, theoreticians, and technical advisers to provide? How would these gurus contribute to your work.

Here's a hint: give 3 - 5 concrete examples, and then elaborate.

1) inspiration

2) critiques

3) blah blah blah

4) More blah blah

1) inspiration

-how does one arrive at it
-how did they overcome difficult periods in their lives
-how did they use "inspiration" to create their own masterpieces and on and on
-put a few more bullet points in here

-Now once they have answered those questions, you will take the information and better your own work.

You need to put this in proper paragraph/essay form.

But you NEED TO ANSWER the question being asked.

Your first couple of paragraphs don't even hint at the question.

MountainHiker

Tanja7301 · Answer

Thanks, I will work on it... I guess I was to much concentrated on the second question of how I benefit from all they offer.
In the meantime I have another text about a different question. What do you think about that one?

Question:
Content of your work
Please give some information on your artistic points of departure and explain how these are expressed in your work.

My answer:
There is a feeling of uncertainty - being not sure on yourself, feeling unsafe personally – somehow.

For me the menace by changes in society and - not at least - terrorism and war has reached a dimension, a magnitude in tyranny which is not only a state of emergency, but threats the everyday life of people apparently.
We get motivated by society to ensconce ourself in that system of fear and adjust our behaviour to that conditions.

My works are about the need of having eyes in the back of the head, to question the “official valid truth” and also to analyse the influence of this plight to my life and also to the whole society.

Toys mirror our society. They transport our prefered lifestyle and illusions. That’s why I deal with there attitude. I use them consistently, cloned or transformed into another meaning. At present I work with dollhouses. It will get an multi-part installation about how dreams of a lifetime turn into knightmares.

To work with my body is another facet. I casted my body in parts to squeeze them in small boxes, telling something about pressing me in conceptions and expectations
At an other time I made a life size “jumping jack” of myself with that everybody could play.

I like to work in white – the colour of innocence, purity, order and reason. There are hardly no other colours in my works – so you have to focus on the meaning, not the coloring. My objects reveal their message only at closer inspection. You will find out that a decorative stucco work consists of babies, which are demaged. Dürer’s “Praying Hands” have a toy soldier hidden between them and are surrounded by a declaration of war from George W. Bush. A box of eggs turns out to be heads - equipped with bar codes for easy handling.

I aim to create a view, which raises questions. My playing with aesthetics, words or not immediately obvious statements invites to confrontation. The works and projects are in the floats between documentary attempt and artistic fiction, between staging and chance, between irony and aggression. They are attempt arrangements which also can suppose the form of experiments.

The spectators can admit themselves on that, can look there more exact or however they simply linger at the surface and become thereby part of my investigation about society.

"slide down the surface of things" is an always recurring sentence out of the book "american psycho" by bret easton ellis.

however, do you really want to see, what´s under the surface?

MountainHiker · Answer

Tanja,

I don't mean to rain on your parade, but you didn't answer the second part very well either. You seem obsessed about giving your view of things without answering the questions.

With regard to your second essay, it seems scattered and lack cohesion. I get the impression you are trying to sound fancy, artistic.

Here's the question:
Please give some information on your artistic points of departure and explain how these are expressed in your work.

Here's some of your answer:

There is a feeling of uncertainty - being not sure on yourself, feeling unsafe personally – somehow.
...

I aim to create a view, which raises questions. My playing with aesthetics, words or not immediately obvious statements invites to confrontation. The works and projects are in the floats between documentary attempt and artistic fiction, between staging and chance, between irony and aggression. They are attempt arrangements which also can suppose the form of experiments.

I am not sure how the second paragraph reinforces the first. Do you know?

My tiny bean is not off into the artistic world. That said, I can usually understand when something written is well written or not.

Here is a brief blurb that I think accomplishes what you are trying to accomplish: [url="http://www.evantapperart.org/html/aboutwork.html"][/url]

MountainHiker

Tanja7301 · Answer

Maybe that´s what I need. Somebody who puts me back on the ground. I really hate to write artistic statements. So I looked what critics wrote about me ... but they do it - of course- in there own language. Now I tried to clear my statement...

New try:
My artistic points of departure are ideas and elements of society that terrify me. These topics include war, fanatiscism, pecuniary reward, resultant changes in the society and the so created ambience of uncertainty that treats my everyday life apparently. By media and society I get seduced to ensconce myself in that system of fear and adjust my behaviour to this conditions.

So my works are about the need of having eyes in the back of the head, to question the “official valid truth” and also to analyse the influence of this truth to my life.

Sculptering, Molding & Casting emerged as my artistic mediums of choice because with this techniques I can clone the “real world”.

I often deal with the attitude of Toys. They mirror our society. They transport our prefered lifestyle and illusions. I use them consistently, transformed into another meaning. At present I work with dollhouses. It will create an multi-part installation about how dreams of a lifetime turn into nightmares.

To use copys of my body is another facet. I casted my body in parts to squeeze them in small boxes, telling something about pressing me in conceptions and expectations. For another work I asked men what they would pay for me to invest my market value.

My favorite working color is white – the colour of innocence, purity, order and reason. There are hardly no other colours in my works – so spectators have to focus on the meaning, not the coloring. My objects reveal their message only at closer inspection. You can find out that a decorative stucco work consists of babies, which are demaged. Dürer’s “Praying Hands” have a toy soldier hidden between them and a box of eggs turns out to be heads - equipped with bar codes for easy handling.

I aim to create a view, which raises questions. "slide down the surface of things" is an always recurring sentence out of the book "american psycho" by bret easton ellis.

however, who really wants to see, what´s under the surface?

MountainHiker · Answer

Hi,

We're going in circles here with both of us becoming frustrated.

My artistic points of departure are ideas and elements of society that terrify me. These topics include war, fanatiscism, pecuniary reward, resultant changes in the society and the so created ambience of uncertainty that treats my everyday life apparently. By media and society I get seduced to ensconce myself in that system of fear and adjust my behaviour to this conditions.

So my works are about the need of having eyes in the back of the head, to question the “official valid truth” and also to analyse the influence of this truth to my life.

Can anyone explain what the heck that means? I have abolutely no clue. NO clue whatsoever.

I am not even going to try to read the rest. I am not sure where you want to go with this stuff. But I am not having much success in helping you.

You might want to investigate the following two services:

1) [url="http://www.welfordwrites"]Welford Writes[/url]

2) [url="http://editavenue.com/main.asp"]Edit Avenue[/url]

Let me know if I can be of further assistance.

MountainHiker

MrPedantic · Answer

Hello Tanja

MountainHiker suggested I come over and take a look at your thread.

I'd be happy to offer some assistance if you'd be happy to receive it.

Let me know if so, and I'll come back tomorrow.

See you
MrP

Tanja7301 · Answer

Hello MrP

Thanks for your posting. I wrote the three texts completly new and I would be happy for any suggestions. You can find them in the "Writing word" section.

Thanks for your help
Tanja

MrPedantic · Answer

I'll take a look later today, Tanja, when I get home.

See you
MrP

MrPedantic · Answer

Hello Tanja

Where is the 3rd part of your application?

For some reason, I can't find it!

MrP

Application for art programm - new text

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