'the artist statement'...lazy way out!!

[robklurfield]

This sh*t is hilarious. I used a pseudonym for mine....

Man Rey

Man Rey (°1959, Chicago, United States) makes photos and mixed media artworks. By demonstrating the omnipresent lingering of a ‘corporate world’, Rey tries to create works in which the actual event still has to take place or just has ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place.
His photos are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. By putting the viewer on the wrong track, he makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. Man Rey currently lives and works in NYC & Morristown, NJ.

 

[robklurfield]

"between our 'cannibal' and 'civilized' selves"??? where the hell did that come from? this thing is pure genius. it creates blather faster then a politician and makes nothing look like something with the facility of Jeff Koons.

With this on the wall next to my photos, I think I could be headed into Andrea Gurksy territory. Seven-figure price tags will now adorn my works. I will not be framing anything in the future. I will be thumb-tacking prints made on el-cheapo 20 lb photocopy paper to the wall with crayon signatures.

It's neither the media nor the message; it's the artist's statement that will make us famous and rich.

I could not write anything this bad if I tried. Gotta get an agent and a manager now.

 

[robklurfield]

I'm thinking that this should be my new tag line:

"His photos are saturated with obviousness, mental inertia, clichés and bad jokes. "

 

[zauhar]

Just too cool - but pretty repetitive if you compare notes!



Randy Zauhar (°1959, Spokane, United States) is an artist who mainly works with photography. With a subtle minimalistic approach, Zauhar tries to create works in which the actual event still has to take place or just has ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place.
His photos demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By putting the viewer on the wrong track, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. By demonstrating the omnipresent lingering of a ‘corporate world’, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of photography: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. Randy Zauhar currently lives and works in Philadelphia.

 

[Schlapp]

Wiesmier (°1900, Arturas, Antarctica) is an artist who mainly works with photography. By questioning the concept of movement, Wiesmier seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
Her photos demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By demonstrating the omnipresent lingering of a ‘corporate world’, she finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
Her works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By emphasising aesthetics, her works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
Her works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. Wiesmier currently lives and works in Rockall.

 

[David_Manning]

Hilarious! I guess I'll do mine, too...

 

[David_Manning]

David Manning

David Manning (°1966, Chicago, United States) is an artist who mainly works with photography. By choosing mainly formal solutions, Manning tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His photos never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. In a search for new methods to ‘read the city’, he focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By examining the ambiguity and origination via retakes and variations, he tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
His works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. David Manning currently lives and works in Fort Worth, Texas.

 

[gdmcclintock]

My photographs justify their deconstructed subversive approach to fragmentary composites that reflect autobiographically on the performance of the photographic medium itself a mediated edification of reified societal structures to which they adhere albeit unwillingly.

 

[David_Manning]

^^^^^^^

I'll have to throw that in at the end!

 

[tomtofa]

So that's how they do it . . .

Tom Farrell

Tom Farrell (°1948, Portland, United States) is an artist who mainly works with photography. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, Farrell wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.
His photos appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By demonstrating the omnipresent lingering of a ‘corporate world’, he wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By putting the viewer on the wrong track, he makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
His works are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. By applying a poetic and often metaphorical language, he considers making art a craft which is executed using clear formal rules and which should always refer to social reality.
His works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By focusing on techniques and materials, he formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
His works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. By creating situations and breaking the passivity of the spectator, he creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle.
His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By exploring the concept of landscape in a nostalgic way, he tries to create works in which the actual event still has to take place or just has ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place.
His works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By referencing romanticism, grand-guignolesque black humour and symbolism, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By experimenting with aleatoric processes, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
His works are notable for their perfect finish and tactile nature. This is of great importance and bears witness to great craftsmanship. Tom Farrell currently lives and works in Fremont, CA.

 

[kuvvy]

Got an exhibition next month and need to put together a little write up. Might try this and edit it to suit my talent🙂

 

[msbarnes]

Michael Barnes (°1987, Los Angeles, United States) makes drawings, photos and drawings. With Plato’s allegory of the cave in mind, Barnes seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of drawing: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. With a subtle minimalistic approach, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in drawing. By emphasising aesthetics, he makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
His works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. Michael Barnes currently lives and works in San Francisco.

I quite like it!!!

 

[brainwood]

This is great . And very funny Here's mine

Chris Brainwood (°1965, Berkhamsted, United Kingdom) makes photos and films. By choosing mainly formal solutions, Brainwood tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
His photos are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By exploring the concept of landscape in a nostalgic way, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
His works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By examining the ambiguity and origination via retakes and variations, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence.

 

[TXForester]

Mike Shwarts (°1961, Dallas, United States) is an artist who mainly works with photography. By manipulating the viewer to create confusion, Shwarts often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.

This thing ain't bad. Especially the last part. 😀

 

[back alley]

Got an exhibition next month and need to put together a little write up. Might try this and edit it to suit my talent🙂

an exhibition? good on ya!

congrats!

 

[back alley]

i sent my 'statement' to a friend this morning and she wrote back...'do you really think that sounds like you'?

 

[BlackXList]

I've always enjoyed this Artist statement generator too, (and the rest of the site)

http://www.artybollocks.com/

just in case that site name gets filtered, it's "Artyb*ll*cks.com" with the *s replaced with the letter "o"

 

[mwooten]

Used my officially web-generated reggae name:

Cool-Congo Dreadman

Cool-Congo Dreadman (°1908, Charlotte, NC, United States) is an artist who mainly works with photography. Through a radically singular approach that is nevertheless inscribed in the contemporary debate, Dreadman creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
His photos are a drawn reflection upon the art of photography itself: thoroughly self-referential, yet no less aesthetically pleasing, and therefore deeply inscribed in the history of modernism – made present most palpably in the artist’s exploration of some of the most hallowed of modernist paradigms. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By applying abstraction, he uses references and ideas that are so integrated into the process of the composition of the work that they may escape those who do not take the time to explore how and why these images haunt you, like a good film, long after you’ve seen them.
His works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. Cool-Congo Dreadman currently lives and works in Pasture City.

 

[photony texas]

wOw, it is me for sure, dead on in description.
😀
PhOtOny TeXas

PhOtOny TeXas (°1900, Negtonia, Azerbaijan) is an artist who mainly works with photography. By referencing romanticism, grand-guignolesque black humour and symbolism, TeXas creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His photos doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By applying abstraction, he creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of photography: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. With a subtle minimalistic approach, he creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
His works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. PhOtOny TeXas currently lives and works in Pixelport.

SOO SUNNY PARK Triptych by phOtOny teXas, on Flickr

 

[alfredian]

Semiotics?

Semiotics?

I was going to do one but ran into "semiotics" in the choose-three menu. Drat. And here I am with a four+ decade run of Full Blown Bat*** Otics. Nothing "semi" there.