3.2: Artist Statements and Bios

Pitfalls and Pro Tips
Read by Wed Sep 17,
Reading Response due Wed Sep 17,
Bill Watterson, Calvin and Hobbes
Bill Watterson
Calvin and Hobbes

Also Due

On the day this reading set is due, you will bring to class a completed artist statement and bio, printed out on a single sheet of paper to share and receive feedback. The artist statement should be between 100 and 200 words, and the bio should be 50 to 120 words. We will critique these in class. This assignment will not be submitted to the instructor yet, but will be part of a later assignment, so this is a chance to get feedback without the worry of grades… yet.

Why?

Artist statements and bios are a staple of making your art public. You will be asked for them by galleries and museums, granting agencies, and more. Learning how to write a solid, earnest, and honest artist statement that isn’t too coy, isn’t too obtuse, isn’t argumentative, and doesn’t fall into tropes can be tricky. Putting together a bio that is helpful, elucidating, and informative without being overly cute, banal, and/or predictable is equally difficult.

Required

How to Write an Artist Statement, The Creative Independent

“I like to think of the artist statement as the wedding toast of the art world. If you wing it, suddenly you’re on the spot in front of a crowd of expectant faces, trying to put into words a relationship (between you and your art) that you’ve always felt intuitively. We’ve all seen those toasts. They don’t go well.”

No Longer Interested

"Let’s imagine I meet a woman at a party and ask ‘so, what do you do?’ She answers, ‘I am interested in the body, healing, and science, and how those intersect within institutions and the public.’ Fascinating right? But why not cut to the chase and say you’re a medical doctor? In the non-art world, people talk about what they do. Describing what you’re doing instead of your interests moves the conversation forward. It’s more clear."

What We Learned from Writing 7,000 Artist Bios, Artsy

“Artsy has created over 7,000 artist bios, and over the years we’ve learned a few things about what our audience of collectors and art lovers finds valuable when discovering new art. Since Artsy’s partners can now add their own artist bios, we decided to take this opportunity to invite Jessica Backus, Director of Artsy Marketplace, to share some insights into what makes for a compelling bio and how to eloquently summarize an artist’s practice in 120 words.”

Supplementary Readings

Artist Statements
Artist Statements: A Quick Guide, Community Arts Partnership

“Your artist statement is a written description of your work that gives your audience deeper insight into it. It may include your personal history, the symbolism you give your materials, or the issues you address; Your statement should include whatever is most important to you and your work. Your artist statement supplements the visual information in your portfolio. Other uses include the following: helping dealers and other arts professionals talk about and sell your work; providing background information for writers of articles, reviews, and catalogues; functioning as the basis for cover letters and grant proposals.”

Artist Bios
How to Write an Appealing Artist Biography, Artwork Archive

“It weaves the story of your art career—instilling trust as it goes - allowing you to share your credentials and achievements without speaking a word. The importance and utility of this emissary cannot be stressed enough. Armed with this knowledge, all that’s left is to write and perfect your artist biography. Easy, right? Unfortunately, staring at a blank page trying to condense your art career into a paragraph or two is anything but. That’s why we’ve put together the five steps to writing an appealing artist biography, from start to strong finish, to get your creative juices flowing.”

Artist Résumés / Curriculum Vitaes (CV)
Artist Résumé: Recommended Conventions, College Art Association

“The artist résumé conventions presented here are designed primarily for use in proposals to professional venues, which can include commercial and non-profit galleries, museums, and art centers. These recommendations can also be followed when submitting a résumé for grants, residency programs, commissions, and other exhibition opportunities. The artist résumé is increasingly used as an essential element on artist and gallery websites and may also be used in publications such as exhibition catalogues. Avoid making the artist résumé complicated; it is meant to be short and simple to review. Normally the artist résumé is succinct (one to four pages in length) and is similar to the short curriculum vitae or short CV.”

Response Questions

Select one question below to which you will respond. Remember to cite specific instances from the text to support your views.

  • What are the key takeaways you got from this reading and why do you see them as applicable to you?
  • Do you have a counterargument to Lambert’s “No Longer Interested?” Lay out your case for why language such as “interested” should still be a significant part of explaining artistic practice.

3.1: Submission Material

Best Practices for Applications
Read by Mon Sep 15,
Reading Response due Wed Sep 17,
Norman Rockwell, Girl Running with Wet Canvas, 1930
Norman Rockwell
Girl Running with Wet Canvas, 1930

Why?

Unfortunately, much of the art world involves levels of competition for jobs, exhibitions, grants, residencies, sales, etc. To be considered for many opportunities, you want to be able to put forward a good set of submission materials. To do so, in addition to making great artwork, you need to consider the type of opportunity to which you are submitting, the type of institution involved, and the point of view of the reviewers. This reading set helps you start to think about these things.

Required

Submission Materials, Art/Work

Pages 60–85

Response Questions

Select one question below to which you will respond. Remember to cite specific instances from the text to support your views.

  • Put yourself in the mindset of a juror for an exhibition, residency, or grant. What might be the types of things they are considering when selecting art or artists? Imagine they are reviewing hundreds of portfolios, CVs, artist statements, and bios. What types of things can help you stand out?
  • Imagine you are applying for an arts-related job (teaching, designing, etc.). How do you think employers would prioritize the following: skills, ability to learn, ability to respond to difficult situation, flexibility, experience? If you are lacking on experience, as a young artist/student, how might you be able to emphasize other qualities that would make you competitive?
  • If you are against competition, and don’t want to participate in systems that pit artists against one another, what other models can you imagine? How might you make your way through the art world without dealing with applications to exhibition, for residencies, for grants, and so on?

Supplementary Readings

These are optional readings to help enrich your understanding of the themes of this reading set.

Against Competition
Against Competition, Blunt Art Text (B.A.T)

NOTE: There is some profanity in this reading. "Working toward a global network where one creates opportunities and, in turn, can respond to limitless opportunities without the pressure to compete, allows for a more generous, diverse and open art practice. In these ways, one can break the isolation of being alone, defending a head-full of secret studio realizations that some kid in Ireland has probably already figured out anyway."

The Case Against Competition, AlfieKohn.com

"When it comes to competition, we Americans typically recognize only two legitimate positions: enthusiastic support and qualified support. The first view holds that the more we immerse our children (and ourselves) in rivalry, the better. Competition builds character and produces excellence. The second stance admits that our society has gotten carried away with the need to be Number One, that we push our kids too hard and too fast to become winners—but insists that competition can be healthy and fun if we keep it in perspective."