Oh a mind map for the manifesto
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Oh a mind map for the manifesto
The 2013 manifesto: An Artificer’s insight
An Artificer’s insight
You have a job to do
Every human that can read this has a job to do and that is to make the world and the people in it better. It is the responsibility of being alive and being in a social species. Either you acknowledge this or you don’t but, the impact of your time on earth will be substantial and it will be felt most of all by those who you care about. So every day do what you can, even if it is only to smile at a stranger or tell a friend a bad joke. As artists we have a specific capacity to communicate and engage people and as such the responsibility is increased. It also means that the artefacts you create should function, you have to design and craft for the audience even if it is of one.
Do not be an artist (get a life)
Let me repeat don’t be an artist: be a person. If you construct a life around the idea of being an “Artist” then your life will quickly fall out of balance and you will suffer as a result, as will the work. The work comes from you and thus reflects the life you lead and the person you are. The “artist” living this singular life will have nothing to give except; specific and generally unpractical knowledge and unrelatable experiences. When you are unable to engage with people outside your specialism, then you have become a bore and an artist that is a bore produces vapid work. As stated before you have a job to do and being an “artist” will cripple your ability to do it yet, the skill of the artist will empower you to do your” job”. There is a more selfish reason to not be an artist and that is when you are an artist every moment you are not working you face an existential dread as a result of your identity not being fulfilled. This dread feels like you are like the fear of death and or the notion you are an imposter and a hack. However innovation and inspiration often comes from the synthesis of ideas from other fields. Be a person. Build a shed with your family. Learn an instrument and absorb facts (the news does not count and is only recommended for satirists)
Hydration is important
Art is created with the body; therefore the greater the wellbeing and functioning of the body the greater the efficacy of the person. Drinking enough water is the first and easiest thing to do to improve your body. I am serious if you want more energy and fewer maladies then drink enough water.
Don’t suffer for your art: work for it
There is almost nothing certain for artists in the modern age but, there are a few things. Always trust in the craft of “arts and crafts”. What is art? Anything can be art and as such it doesn’t matter. You may contest that sentiment but, someone in an art gallery has already proven you wrong. Also there is no need to chase the ephemeral concept of “art” when by the inevitable nature of you being human; art will come naturally as the consequence of your human limitations and inevitable uniqueness. Craft on the other hand isa reliable path of improvement and means of critique. So work hard at craft and let art take care of itself. Also stress, fear and the self-loathing will negatively affect the ability for the brain to produce ideas and regulate behaviour. The half mad bohemian artist stereotype is a pop culture trope; not a role model. It does not work in real life. Life will give you all the grief and loss you need to understand your fellow man so the self-harming of the “artist” life style is unnecessary, unpleasant and counterproductive. Stress is a survival mechanism and will physically inhibit creativity. It is in my view that this would make one less of an artist. People work better happy. Happiness is not indulgence however.
Draw as you please
Most fundamentally make art. DO the actions. The audience can be you, and the smile you earn, your own. Even when working for others have fun and draw for you, as it is not sustainable to alienate yourself from your art for any reason; as eventually you will not be able to make art at all. If you cannot appeal to yourself then how can you convince anyone that it is appealing? You can take orders and meet the brief but, if you don’t put yourself into it you will procrastinate or do a rushed job. If you draw as you please you will invest the time and creativity to produce something of value.
Work from broken
Creativity has the qualities of uniqueness, diversity, cunning and imagination. Perfection on the other hand is about the right answer. Math problems have right answers as do other abstract/narrow fields of endeavour. We can perfect the production of strait lines or tv screens but, that is not the artist’s job. Bespoke, broken, unique and humane work caries more appeal and resonance than the perfect singular right answers. Striving for perfection will undermine the work you do and the ability to do it. As it is not worth getting perfection is it not wise waiting for perfection. We are broken. Life is broken. Everything is broken. Broken is beautiful and unique. Celebrate the imperfections of the human touch. Always be willing to start from the broken place you are in right now. It is always one of the two options you have at any given time and it is always the better one. You will only find out what a painting will be when it is done. A painting will only be done if it is painted. Truth is we don’t control the outcomes of our actions or the events of life. We can only approximate the outcomes and thus we need to let go of perfection.
Daily Practice:
carve out a predictable, repeatable time every day.
A Place in Your Life:
my table grrrrrr
Ramp-up time:
Walk in and start working. No faff just go to place and work. Remove things even to do lists.
Materials you love:
It shows in the work
Spiritual union and so on.
...
Traditional Style colour mixing and theory with Photoshop. I think it makes for more harmonious pictures to mix when digitally painting the way you would if you had the paints. tutorial
A traditional starters pallet digitized and produced in Photoshop water
A manifesto can help keep creatives, professionals and many others on course. Here are some awesome manifestos to look at for inspiration.
Half way through redrafting my manifesto and found some inspiration
“Writing a manifesto can be a powerful catalyst for action. Get the creative juices flowing with visionary manifestos from Apple, Frank Lloyd Wright, Seth Godin, and more?”
Manifestos seem to be very short format and so it could measly be a list. I have been working for long I am shocked that it can be done right now and none of my precious thinking would enhance the product. I will continue to waffle and produce supplementary material to my manifesto because, the elegance of the thinking behind this things is useful when blunt statements find nothing to engage with reality. Like cogs in a car if ideas are too simple they are not useful as they are a smooth well and for the action to occur we need a toothed cog: although too much detail will make the cog wrong for many things and only right for a few.
Whoops I have been posting on the wrong blog
Another modern manifesto. I want to write these all the time now
Getting a life
Cross pollinations in art forms why I don’t believe in art for art sake
A long time ago I used to be a poi spinner. That is a form of object manipulation juggling. That would be the kind that does not revolve around throwing and catching although I did some of that and gave up. Depth perception is handy an
Poi spinning is sometimes just called firespinng as that is often how it is sold but, it developed from its ethnic Maori roots and picked up different styles and moves and almost everything that is seen as poi spinning right now comes from other forms of dance and skills
Here is a link to the original form of poi spinninghttp://www.youtube.com/watch?v=_Hu2g5h0hNM
The Maori “moves” are the foundational moves but, large choreographed groups that need to sing are not part of the practice we have in the north west of the planet. Also without access to the teachings of the original culture the dance form has become a hybrid of the different cultures and disciplines it moves through. It is in my opinion that basing solely on the manipulation of the object the mongrel performances are better.
http://www.youtube.com/watch?v=yGxPBUaIHS0&list=UUD21eFs5VuYMhjCyFwkJyCg&index=2
This is from a spinner known as DurbsBT (burnt toast)
The passion for jazz and body popping derived dance styles in culmination with a previous foundation in other manipulation arts (contact juggling) result in a unique and rich practice of the art form of poi spinning.
Other influences are not technical but, are based on spiritual beliefs on the like and personally I think it is hippy bullshit. My spirituality comes from colder place than other poi spinners i.e. Glasgow. Yet I think it is undeniable It has an observable influence in the practice and presentation.
The following link is promotional material for an instructional DVD and has examples of these influences starting with poi spinner “alien Jon” who uses the Logic math and computer simulation to enrich his practice, that and a hippy or two.
http://www.youtube.com/watch?v=A4uVjgMCWeE&list=PL5BF733E9E4151AB8
Now this discourse could go on for some time exploring the different spinners and the factors that influenced them but, they are not the point of this discourse. The point is that this performance art has improved as a whole by practitioners that come from different disciplines. It is the integration of other knowledge’s and worlds of information. And I am using poi as analogue for the infinitely more complex world of art.
Art practice is improved when external influences and disciplines enrich the individual art maker.
Also here is some justification to why I used poi spinning as the example. I know poi. Poi is a simpler sphere of art to understand. It has not been in its current form for as long as mainstream art. It has no academia or criticism to cloud the issues, and yes I am saying those centuries of non-artists and unintelligible artists adding masses of media to the world of art, makes it harder to understand. At least it makes it harder to grasp what really happened and how things really work. It is why it is respected by the old institutions; it is hard.
Art (as in what normal human thinks about when their eyes glaze over and we start rambling) has always been political in some way. Well it wasn’t always but, for long enough…shut up. It was for the witch doctor to wow the tribe and the church to bamboozle the people and lionize the royalty. It then helped promote elitist views of violently nationalistic and insecure nations. Not saying art is evil it has empowered revolutions, counter revolutions in fact it has been part of every movement I can think of in some capacity that I can think of. Consider the great empire of Nintendo and its army of nostalgic grown up GenX’ers and how they won the terrifying consoles wars of 2006.
Any way this is getting very far off topic. One of the most creative artists I know is not an artist. They are someone who just draws and I teach them what I can. See you would think it would be a course mate or artist friend. It is not they are like me are stuck in the incestuous word of art. Art for art sake and games for…we like games and people can make money from us? Doesn’t roll of the tongue well at all.
Well this creative and joyful practitioner of art is a scientist. Well a student studying Bio Medical Sciences and their personal interests and knowledge manifest in not only decent grades but, as a fountain of ideas in drawings and stories.
For a long time the image of the near mad bohemian artist that gives everything to art and becomes great has informed the practice of students and professionals. Reflecting on people I know and other art forms I have thus come to the conclusion this is wrong. I think we should become whole people and develop hobbies and fields of study outside of art. Similarly I believe everyone’s life can be enriched by practicing art.
This is part of the thinking that will relate to the manifesto. The principle will be called “the power of multidisciplinary cross pollination” or “get a life.”
So what suggestion actions would relate to this?
1. Take the time you would studying anatomy one day and spend that time performing strength building exercises. Read up on it to so you do it right and learn that how your body works and you have better understanding of the anatomy your learning.
2. Get another art form. Pick up something that looks fun. Guitar, poi or a camera. Just anything fun and practice. It will pay dividends.
3. Learn about fields you don’t think have any relation to art. Someday you will appropriate Ideas and innovate but, to choose a field just because you want to be better at art would narrow your understanding so I would avoid it. Although the alienation between academia and art has proven to be a good choice although you will become a bore. So go onto TED and enjoy the science. Talk to a friend who know completely different things and listen.
4. Listen to a new kind of music. My use of colour has been improved by listening to jazz. And my attention to detail seems better when listening to classical and metal makes for more expressive character art, while pop leads to violent outbursts and bitter satirical content.
5. Learn programing if you don’t know already. Enrol on an online course.
6. Engage with your friends and family. Talk to them and help them build sheds in high winds(or whatever families do )
7. Live and interesting life if you want interesting art. Fill the well and steal methodologies ideas and concepts.
It has been said that anything studied in great enough detail becomes a metaphor for everything else in life.
Here is a link to a psychology blog and an article on how innovations are often appropriated from what already exists rather than from brand new things.
Draw what you like is powerful message that is lost in commercial art or at least we try and think we should not please our selves since that is the work ethic passed down to us and we want to work. We want to be valuable and useful. We live in a transactional world where humans are objectified and assessed. So we think that a noble approach to work would be do not do what pleases us. Well I think when we look at the situation and the work we make when we don't care about something being a complete tool is just that. But we also have to watch out for incomprehensible stuff if we make stuff only for an audience of one that is what we will get.
Children's illustrators and that style
https://www.google.co.uk/search?q=tonny+ross&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a&channel=fflb&um=1&ie=UTF-8&hl=en&tbm=isch&source=og&sa=N&tab=wi&ei=dEpZUcOCKLL50gW3kYHQBA&biw=1280&bih=755&sei=hUpZUfSaJoyT0QX0vYCIBg#um=1&hl=en&client=firefox-a&rls=org.mozilla:en-US%3Aofficial&channel=fflb&tbm=isch&sa=1&q=tony+ross+illustrator&oq=tony+ross+&gs_l=img.3.0.0l4j0i24l6.1865.2257.2.5032.3.3.0.0.0.0.134.369.0j3.3.0...0.0...1c.1.7.img.wpCJuAr1qUs&bav=on.2,or.r_cp.r_qf.&bvm=bv.44442042,d.d2k&fp=525f745f748ebf88&biw=1280&bih=755&imgrc=S5_VtthIBZ5C_M%3A%3B7hjOgJdk92lBlM%3Bhttps%253A%252F%252Fs3.amazonaws.com%252Fksr%252Fassets%252F000%252F439%252F650%252F868359ad82af9cdd154bdcebbda73dbc_large.jpg%253F1363089257%3Bhttp%253A%252F%252Fwww.kickstarter.com%252Fprojects%252Fhollyjameson%252Fi-wish-theyd-taught-me-this-in-school-e-book%3B700%3B888
https://www.google.co.uk/search?q=Quentin+Blake&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a&channel=fflb&um=1&ie=UTF-8&hl=en&tbm=isch&source=og&sa=N&tab=wi&ei=F0tZUZTZOsfX0QWkxYG4Cg&biw=1280&bih=755&sei=GktZUdipG8Sp0QXfvYDwBg#um=1&hl=en&client=firefox-a&rls=org.mozilla:en-US:official&channel=fflb&tbm=isch&q=quentin+blake+illustrations&revid=365947717&sa=X&ei=GktZUbe-JoHZ0QXEg4H4CQ&ved=0CE4QgxY&bav=on.2,or.r_cp.r_qf.&bvm=bv.44442042,d.d2k&fp=525f745f748ebf88&biw=1280&bih=755
https://www.google.co.uk/search?q=Gerald+Scarfe&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a&channel=fflb&um=1&ie=UTF-8&hl=en&tbm=isch&source=og&sa=N&tab=wi&ei=JktZUarbFdLB0gWPkYGgDw&biw=1280&bih=755&sei=KEtZUZu7N-eN0AXAlYCoBg
http://www.symbols.com/encyclopedia/05/057.html
A critique or mini essay. Probabably a ramble about a book and art
Hello all sorry for the prolonged absence. I have been ill and working away. I had moved away from digital resources for some time and thus have been stuck down that rabbit hole. I have come across many books that have inspired the project and my practice as a whole. One of them is a book Called “Art and Fear” By David Bayles and Ted Orland. It is a book (almost an essay) on the questions and challenges of being an artist. That personally made a lot of sense and I am recommending it to all the artists I know and care about. In fact Coming to write about it has been difficult as I want to find quotes and sound bites to put in a post about it but, I find I Just want to put the book up in its entirety. The authors are working artists not academics, philosophers or well off revolutionaries from a different world. It is also not a “how to draw” book. It is instead the book I needed to read. It is structured by a questions and insights gained from the authors artistic practice. It is a contemporary book (1993) so it has a perspective that is rooted in a recognizable world and has the access to the ideas from the history of art. It is almost a counselling book that does what most counsellors do and that is tell you “you are not alone, It is not really you fault but you can manage it whatever it is. If and when it is your fault you can change” and so on. It also has a good few quotes and references and in itself will become a reference in my art writing. For example it supports the need of doing “your work” which is to say that idiosyncrasies and personal drives in art are not only justifiable but, noble. That we are to learn from our work and our work teaches us. Which is the pragmatic and practice lead sort of learning that I have come to trust. And so this book is in agreement with “visualizing research” by Carole Gray and Julian Malins another practical and useful book on artistic practice. Although the scope of Art and Fear has room for criticism of art culture including academic art culture. So this is where I forget something important and useful. Well most likely a lot of things. Artists today have to contend with much uncertainty; with no institutions (churches and kings) or universal principles to art with which to “shore up” our role or our activities. So it may be the case that challenges that artist face today may just be an intrinsic part of contemporary society. This is also in relation to the conceptual separation of “art” and “craft”. For when artist where considered crafts-persons as in a carpenter or mason, then they were seen as skilled labourers which did and still do have place in society. Perceptions changed and “artists” became apotheosized as the occult value of art that was cultivated by the church transferred to the artists: thereby alienating artists and their produce. Artists became” geniuses” and “talent” become a magical and rare gift. This Idea of the occult role of artists changing can be read in “The Work of Art in the Age of Mechanical Reproduction” by Walter Benjamin (1936). The consequences of the “genius” and “celebrity” artist are negative. Apart from on principle being a lie and therefore wrong they are harmful to art and artists. Artist commonly have doubts as to their own authenticity as an artists. They fear that they are “phoney” or that they may be artist but they don’t have that magical “talent” to elevate them to “real artists”, and yet most of the great “talented” artists where just lucky, well-resourced and prodigious workers. They were also craft-persons. But craft less art has become influential. The fountain by Marcel Duchamp was the high point of craft- less art and maybe even a low point of art in general. And that is a historical manifestation of art has become alienated from audience as well as practitioner. The concepts of divine or high art from the likes of Kant and post-modernism have left contemporary society lost confused and powerless in relation to art. “Post-modernist art is above all, post-audience art” Adam Gopnik And so as a remedy the book suggests that we should reject “talent”. I have rejected talent and being called talented for a couple of years since looking into neurology of skill acquisition and reflecting on my own experience of being remarkably untalented and skilled at drawing from an early age to being notable good at it (relative to age and experience) from the beginning of secondary school. And the journey is fresher in my mind that those who drew from an early age and so I know it was about skills learning and personal passions. I know I earned the skills through hard work and I want people to acknowledge that not give the credit I am due to gods or genetics. I want people to do that for themselves and for each other. I encourage confidence in people’s ability to learn. Another suggestion is to consider who makes art. It is a surprisingly useful question. The answer is people make art, normal and flawed humans. There is the idea that it is intrinsically human and intrinsic to our flaws. The idea is that a perfect being does not need to make art or need to make sense of the world. The idea has many facets such as that if it is intrinsic it may not be just to express our self but, and action that can exist without ego or intention. It is ideas and questions like this that the book elucidates; they work to allow the artist to define their work. There work could be seen as the holistic version of a research question. But instead of being limited to the unhelpful and untruthful concepts High/divine art, legitimacy as an artist, self-expression, and talent judgement and so on, the artist can find a question based on who they are; what they need; what practice teaches them and even low art considerations like audience and purpose. The writing in this book deals with subject with far more elegance and therefore lower word count than I have. There are many more ideas and helpful/reassuring advices. Some of my personal favourites are to not define one as and “artist” as every moment you don’t practice is an invitation for fear and dread to manifest, as If we are artists and if we aren’t drawing right now then we are nothing. This is the feeling and fear of annihilation. Be a person instead and let art be something you make. Another is execution is always challenging. (David Bayles the author “had started piano studies with a master. After a few months practice David lamented to his teacher. “But I can hear the music so much better in my head than I can get out of my fingers” To which the master replied “what makes you thing that ever changes?”) This is a very bad review as my interpretation of the book pervades. I will accuse the book of being responsible for this as the structure and content encourage thinking. A dangerous thing if you ask me. I recommend it whole heartedly. I think every artist and a portion of non-artists should read the book. For an evening’s worth of reading you will be given some confidence in what you knew about art but, could not find a classical source to back up when dealing with an incredulous person who is ready to quote Kantian ideas on aesthetics with conviction(arrogance) thereby dismissing your experience and tacit knowledge with well-honed harmful nonsense. I am trying to say Kant was an ignorant when it came to art and his influence in western art theory is a shameful, destructive and baneful failure of art academia Sorry got caught up in righteous student anger over what some long dead German wrote. I am saying that Useful and truthful ideas are rare and valuable in art. This book is a small book but is dense with them. Better yet, it not only has pre-formed ideas but, provides the questions and prompts that will allow the reader the find their own facets to the answers in this book. This is important since no one approach to art or life is right for all of us. At least that is my experience and I bet it is yours too and if you disagree that would be really odd since you knew it when you were a teenager. Oh and more important than philosophical discourse on art, the book makes it clear that you should be making it. You might not know what you’re making. The blank canvases are infinite, but make one mark it is only a few thousand possible paintings. A few more marks and it is a hundred possible paintings. If you keep going you will find the one painting that is yours. But that doesn’t happen by thinking about it. It happens when you stop reading this and pick up your tools and get working.
"Post-modernist art is, above all, post-audience art"
Adam Gopnik
Selfishness is not living as one wishes to live, it is asking others to live as one wishes to live.
Oscar Wilde
Girl Scout law The Girl Scout law is as follows: I will do my best to be honest and fair, friendly and helpful, considerate and caring, courageous and strong, and responsible for what I say and do, and to respect myself and others, respect authority, use resources wisely, make the world a better place, and be a sister to every Girl Scout.[5]
Vision Statement Power point in video format