Clay workshop at KACA in lovely Lindsborg KS

I really enjoyed spending time with fellow Kansas Artists in quaint Lindsborg, KS on the 4th of November. I was able to share some of my techniques and philosophies with students, professors, and several independent Kansas artists.

Kansas Artist Craftsmen Association is one of the oldest associations of its type in America. I have served in numerous capacities over the years, including president from 2007-10. It’s hard to believe ten years have past! Time flies friends.  This year was a lot of fun. The KACA conference happens every year early in November in different parts of Kansas. There are keynote speakers, featured artists, technical workshops, and fun parties. It’s so important for artists to get together and learn from one another.  Let’s hope KACA keeps going for generations to come.

Here is a link to the KACA website. I think you should join!

KACA Website

The 2017 conference had workshops in metals, printmaking, plein air painting, and even art business. Two of my favorite people, Tara Dean and Mikey Knutson were a part of this years conference, While I wasn’t able to attend either of their sessions, I hear they did a fantastic job. I was hosting my own workshop here in Garden City with Joseph Rincones and Emily Chamberlain. I’ll post about that one soon.

Thanks again to the board and organizers for the lovely opportunities, and thanks especially to Dale and Kami for all the help making figures. Keep an eye out for the location of next years conference. The juried show, “Materials Mastery” happens concurrently. All of you should enter the show. Best of thanks to the organizers, the board, the artists, and all of my fellow organizers who helped make the 2017 KACA conference a success. Check out some of the images that Tara Dean took of my demo below.

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  • KACA Lindsborg 2017

Who cares what you think

 

Art doesn’t mean anything. Or does it?

 

This is a message to all artists everywhere. Who cares what you think? It really doesn’t matter in the least what your work is about or what you think it’s about or if it’s about anything really.

 

Meaning. Sure, it matters to you. That’s important. It’s really important that your art contains meaning and that that meaning–no matter how personal or universal–contains messages you have hidden or left in plain sight.

 

Are these contradictory statements? Perhaps at the surface. But in reality they aren’t contradictory in the least. In reality these statements are true simultaneously, and the fact of meaning in any work of art is inherent in the art itself.

 

Let’s take a look at the sources that academics look to when they interpret a work of art:

 

  1. The life and times of the artist
  2. What the artist says about the work of art
  3. The life and times of the viewer

 

These three sources are commonly used to interpret art and to derive a work’s meaning. Often an artist (even a contemporary artist) is a dubious resource when it comes to the meaning of their work. Artists can be mysterious, withhold information, or in some cases paint, draw, or sculpt subjects from subconscious places in their psyche that escape their own ideas about meaning.

 

When an artist sets to work and creates an image that contains imagination and emotion, it serves to reason that the possibilities for unconscious meaning are increased. So in this way, an artist is somewhat of a conduit of messages. A sort of cosmic copilot. A shadow of illumination.

 

Their life experiences, the economic and political and social climate that an artist lives in are partly in control of the meaning of any work of art. There is no denying this. Look at a work of art from each century from the first to the 21st. Each generation, each religion, each government, each culture, each gender all play a role in defining the voice of the artist.

 

The life and experience of the viewer is an undeniable factor in the reading of a particular piece of art. For instance, it’s absurd to suggest that a literary critic from the 1950’s and an 18-year-old gamer might have the same experience of looking at a Jackson Pollock canvas. The art is there, on the museum wall, sitting there like a flower or a train wreck, free for any person to look at, see shapes and color and volume and mass.

 

What Pollock said about the physicality of paint was important to art. But what have the effects of time had on that particular revolutionary action for subsequent generations of viewers?

Pollockpainting

 

The meaning each viewer takes from the work is malleable, ever changing, and frankly has less to do with the intended meaning and much more to do with the willingness of the viewer to search for or meditate on meaning.

 

So who owns the meaning? The artist? The universe? The reader?

 

All three do. The artist gets to look at their work for the first time. Like a mother falling in love with a newborn child they get to say “you are here,” and they do get to gaze in wonder at the fruits of the creative act. After that, their act of creation is done. From that moment the meaning of the work itself is no longer theirs entirely. From that moment the work is on a linear trajectory in time and and space toward the next viewer. That viewer will see the work and is free to get the meaning they need from it. It’s a good thing that the viewer isn’t limited to the intended meaning.

 

In art critiques with my students, I encourage them to avoid saying, “this work is about…” and I ask them to say, “what this work means to me is…” or “I think this means…” or “I intended this to mean…” In this way, the student-artist is well served by considering the viewers’ possible perspectives. It’s an act of respect for the viewer. The viewer, after all,

is in charge of making the work mean something to them. And that is indeed an essential element of the dance we call meaning in art.

 

Images: “Convergence”  Jackson Pollock 1952

Jackson pollock painting in action