Summary of our Discourse on BP and the Funding of the Arts

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This is a montage of the responses from the question that we posed to our I am Artist interviewees in July, while we were virtually art traveling in Arkansas.

As part of our interview process we asked each artist to respond to this article " arts sponsorship: can Tate afford it?"

Should patrons monies be refused if their dealings are causing harm to society?

· Brad Cushman responded that "The BP gulf disaster is incredibly disturbing. It makes us all confront our dependence and addiction to fossil fuel. It’s a scene right out of Dante’s Inferno. Reading this and other related Guardian articles prompted me to ask some of my friends what they thought – and most said take the money because the Tate is not responsible for the spill and cultural institutions need to stay fiscally solvent. I tend to agree with this, but museum fundraisers need to be mindful of their choices regarding corporate sponsorships because they will be held accountable. The Tate's stated ambition to demonstrate "leadership in response to climate change" and their willingness to accept corporate money from BP is the perfect storm for a protest. I think people feel helpless as they watch the oil gushing into the gulf and need to react."

· "The article raises interesting questions, but shouldn't we -- all of us -- be looking at ourselves a bit? Do we drive? Have completely plastic-free computers? Use acrylic paint? BP could not exist if hundreds of thousands of us didn't enable them to do so.The money BP provides the Tate comes from us. Should I not sell a painting to a couple who walk into the gallery, because they drove to town in an SUV? Eureka Springs (where I live) spends a good deal of money enticing people to come here -- and that advertising allows me to survive as an artist, because it works -- people do come. Roughly 2,500 people live here -- many of us, artists -- and nearly a million people visit every year. Not one of them comes on foot."Rebecca Becker

· "This is a tough question not because of Tate's ethics or even BP's , it is difficult because i find myself looking in the mirror. i want to take the high road and say any and all institutes that take money from patrons with questionable practices are wrong and their integrity is in jeopardy of judgment... this may be true but will i hold myself to this same standard. as a society we still go to major shopping centers that are accused of sexism; we buy stocks from corporations that have a history of racism; we use supplies and eat food from manufactures that contribute in destroying the earth. so many thngs are tainted. being self righteous about art and art institutions is easy but how do you implement this train of thought in everyday life without being a hypocrite i don't know." Angela Davis

· "I'm a little uneasy with some of the ideas presented in this article. I'm not sure I agree with the idea of art selling its soul (if it could truly do that it would have done it a long time ago). That being said, I do believe that at some point you have to take a stand against a company or organization that is known to be a detriment to society at large. If that stand comes in the form of refusing their offered funding, then so be it. But, I think you also have to keep in mind that this isn't such a black and white matter."If artists feel an institution is taking "tainted" money - why protest? It may garner some press, but more than likely it won't make much of a change. Why not be more pro-active and come together to find ways to secure alternative funding sources, sources everyone feels more comfortable with (and yes, having everyone agree on this could be problematic in and of itself). I would think there are philanthropists and businesses that would step in to help out, they just need to know how important it is to artists and the public at large. How good would it make a business look to step forward to the Tate and offer to match BP's funding, at least for the short term, while the museum seeks out a more stable, and ethical, source of funding. To me, that's a more positive approach than simply protesting. And one thing artists are usually very good at is getting attention. Why couldn't artists spearhead this kind of effort?" Robert Bean

It is ironic because the Tate Modern building itself was originally the Bankside Power Station, an oil-fired power station on bank of the River Thames. It would be interesting even to trace the history of BP's relation to that building further back. I would guess that their history is long and maybe BP does deserve some sort of credit for that. And while BP is definitely environmentally a real asshole, John Sauven is kidding himself if he thinks the institution of arts is an inherently good one without many evil ties of its own. There are families mentioned in Dante's Inferno, family names in the deepest parts of hell, that are still living. Can you imagine what that would be like, to know your great great great grandfather was in Dante's Inferno? But it's people like that with old money that pay for things nowadays.... There is a similar situation in Arkansas. Alice Walton, a Walmart heiress, is funding the creation of the Crystal Bridges Museum of American Art in Bentonville, Arkansas. The Museum will be beautiful. It's set right in the lush Ozark Mountains and has a river flowing through it. Still, many Arkansans hate Wal-Mart and have vowed never to shop there, some I'm sure have even vowed not to visit the new Museum. I am excited though to visit the museum because I understand that my experience will be nothing like that of a Wal-Mart but it will be a very aesthetically pleasing one. And I will be happy there because even though I know and understand Wal-Mart's bullyish reputation for running small businesses out of town all over the world, I also know that that doesn't effect the art. The world is fucked up. Unfortunately art gets mixed up with that. But when it comes to you and me, and our experience with the art, or how much it sells for, or where it goes, our power is little. If big businesses want to pay for art though, I think they should be able to. Art will be viewed by good and bad people alike and it will still do its thing." Layet Johnson

· "I dare say this is a very personal decision on the part of the artist or the institution. Every person has their ethical and moral lines that must never be crossed and I think when anyone is faced with a decision such as this we will all weigh it against our deepest compass. Those lines we will cross or not cross should speak volumes as to the nature of our character." John D. Wooldridge

· "Yes. “In every truth…there is a lie… and in every lie …there is a truth.”

“No.” Here is a basic rule of physics: “Nothing can exist without both positive and
negative forces or energy. On that same note. All patrons should make anonymous donations for the sake of supporting the arts and not expect or receive corporate recognition, which is no more than paid advertising." James Yale

· "Certainly the idea of using “tainted” money to support creative activities is, in some ways, abhorrent. But if we look back on artistic patronage through the ages can we really say that every patron has been or needed to be a sterling example of societal responsibility? I think not. Every patron has their own agenda. Should individuals and institutions reject public funding because the government has engaged in irresponsible and harmful activities? Such as wars in the middle east to help protect the supply of oil .It’s a slippery slope to negotiate and one that I’m not ready to pass judgment on. We’ve gotta look at ourselves when we condemn BP. Until we are ready to give up our cars and dependence on oil energy, we are all to blame…" Michael Peven

· Amanda Salov said,"Oh boy, without patrons (ethical or not) these kinds of institutions would not survive. This brings to mind Houston, which has a wonderful collection of museums sponsored by the Menil family. Again, oil money. Don’t get me wrong, I am very angry with BP. But I am also very angry with Ford. My solution is to buy as much as I can seasonally and locally, especially food wise. I commute by bike and carpool when I can. I think the problem is much, much bigger than BP. The thing is BP is a company serving our gas thirsty desires. Would the other oil companies have responded differently? Was it ethical to dig up and pump out oil from the gulf and endanger that ecosystem? Is our consumption of oil ethical? I hope that this tragedy forces our unethical oil sucking society to re-think it. In short, if BP wants to throw down some cash for the Tate, I’d say fine. We have bigger issues to worry about."

For me the question is all about art and ethics. I really enjoyed this provocative conversation. This question really creates some serious food for thought. Arts funding is a catch 22. We thank all of the artists in July for being so engaging. If you would like to add this conversation or if anything came up for you while reading and thinking about this topic please e-mail us at artismoving@gmail.com with your comments.

Images from

UK Guardian

http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2010/6/28/1277763639137/Protester-at-Tate-Britain-006.jpg

Huffington Post

http://i.huffpost.com/gen/174285/thumbs/s-ANTI-BP-ART-small.jpg

I am Artist John D. Wooldridge

Here is our latest virtual interview with John Wooldridge, he is a native Arkansan, who is painting his way across the State. 

Why are you an artist?

  I'm an artist because I have to be, no ifs, ands, or buts.  Creation is a primal drive in humans and I think we ignore that calling to our own peril.  Whatever the individual chooses to create and their methods are totally of their choosing but I think it is inherent in all of us to create something, whether it is buildings, automobiles, paintings, sculptures, performances, food, or power tools.  For me, even the mode of creation seemed to be a primal drive.  I ignored my painting for about 15 years while pursuing another passion.  I attended an event called Art in the Park in the small east coast town in which we were residing at that time and it was a like lightning bolt had struck me.  I had to paint again and wouldn't you know it, I still had all my gear!  It was like something deep inside knew I would need it all again one day but I first had to pass through something else in life.  Funny how that works out sometimes.

Can you talk about your work? What is your vision?

  I mostly enjoy painting the rural landscape.  It's a way for me to connect with my roots and heritage.  Growing up on an isolated farm in a very small town is a completely alien lifestyle to the vast majority of Americans today.  Since graduating from college I've lived on the East Coast just outside of DC and in smaller bedroom communities in that area as well as living for short durations in the Los Angeles area and that made me realize just how precious my upbringing was to me.  There was an intense freedom from being so isolated and disconnected.  I suppose in many ways, my subject matter choices and my compositions are the means for me to try to convey this to people who may never have been more than a few yards from another human being.

Which is your favorite medium and why?

Oil.  It allows me to be fluid and mix on the surface when I need to.  I can build up complex colors that I could never have dreamt of otherwise.

 Your work seems to dance on the line between impressionism and landscape.

 Can you speak to that?
 I would attribute the look of my work to having the mind of a realist coupled with the heart of an impressionist.  Many people would look upon this and, seeing these as opposite sides of the spectrum, consider it a detriment.  I view them as complimentary and when these aspects work together, I think they produce something pretty cool.   No matter how hard I try, I rarely achieve the level of looseness I'd like to see in my own work.  It's a balancing act and if I keep my realist mind on the focus of the design, then I can let my heart and hand do the dirty work.  When doing landscapes of actual specific locations, especially my paintings of the Buffalo National River, I feel the mind of a realist is very important or else it could just be any river anywhere.  For this reason, I do my absolute best to maintain the important features, like rock outcroppings and the background mountains while being freely liberal with the play of color and the less permanent items like trees and bushes to build a pleasing design.  I like to use an active brush and I vary my strokes with intent to aid the viewer in their journey through the piece.  I would love to be able to say that everything I do in a piece was done with specific intent and many passages are designed very specifically, but I'm still learning at a frantic pace and sometimes all my planning doesn't pan out and I have to wing it midstream.

 Social Question

http://www.guardian.co.uk/culture/2010/jul/02/bp-arts-sponsorship-tate-protests
5 a.Any thoughts about this article?  Should patrons monies be refused
if their dealings are causing harm to society ?

I dare say this is a very personal decision on the part of the artist or the institution.  Every person has their ethical and moral lines that must never be crossed and I think when anyone is faced with a decision such as this we will all weigh it against our deepest compass.  Those lines we will cross or not cross should speak volumes as to the nature of our character.

How does nature, the land, landscape,the environment affect our creativity?

Does it form it?

 I absolutely think our environment can inform our aesthetic sensibilities.  But I think the means by which it influences us can defy logic to the casual observer.  There's probably a lot of Freudian analysis a person could do with childhood associations and such.

What is the role of the artist in our society? and in Arkansas?

My personal belief is that the role of the artist is to reflect back the spark of Divine Creation that is our world and our place as humans within it.

Where do you see yourself as an artist in 5 years?

While I've set no specific time frame, I would like to be done with my Painting Arkansas project (http://paintingarkansas.blogspot.com) in which I will paint something from all 75 counties in Arkansas within 5 years.  I have an internal clock with a 2-3 year time frame on that project but I'm not living and dying by that.  A part of my 5 year plan is to be juriedavant-garde subject matter where I am experimenting with alternate forms of visual communication.  These pieces encode specific and verifiable messages in a visual format.  The designs are meant to stand on their own as wholly satisfactory designs in the context of modern art while possessing another layer of concrete meaning.  I would like to see these rolled out into the art world within that 5 year time frame.

What are your ultimate goals as an artist? 

 I'm still very young in my artistic career so I have lots of goals and the main thing is just to keep learning and progressing.  I hope I never run out of room to keep growing in this journey.  I guess like many folks in my position, one of my ultimate goals is to finally be a full-time professional but sometimes I wonder if this a line I should cross.  I have nothing against earning money from painting, but if I invest my family's future on it, will it lose it's spark?

What does art mean to you?

To me, art is the act of creation, through the filter of an individual's love, life, and character, of a thing of beauty.  A piece of art is like a rainbow on the wall and the prism is the artist.  The prism did not make the light of the rainbow, the prism only acted upon the light passing through it.  We are merely prisms, tools of something larger than ourselves.  We see, we imagine, we create.

Refinement of our Process- I am Artist

When ever Lauren and I get together we start brainstorming and we come with tons of new and improved ideas.  I feel are collaboration is like an Artesian Well. 
 

When we first started the I am an Artist series in October 2009 we wanted to create a forum to expand our Art conversations into the world. We are completely interested in hearing as many voices as possible about all aspects of Art. We also wanted to demystify the notion of what it means to be an artist. And that there is a universal pathos that exists in all who choose to create. Also, on another level we wanted to create a web of connection through the Internet and social media with artists around the world.  We really embrace that the Web is an empowering tool for all  Artists of today. 
As we are refining our process Lauren has been updating or website with our  I am An Artist project. Eventually we will have an interactive map  were you can click on the state whose artists you would like to get to know.We hope this series encourages dialog about current events and how they relate to the art world, why art is important to sustain a culture, and what life is like for today's artist.

We began our strategy with making  a Call for Artists to interview on Craigslist. We had some success in Washington State, but as we continued to virtually travel around the country our hits began to peter out. As we progressed to our tenth State we started getting a lot of spam and few hits from are adds on Craigslist. In July we decided to re think our strategy. I recently was asked to do an interview for a graduate dissertation on Women Environmental Artists and I was really flattered and excited at this opportunity. From that peak experience I thought we should shift our strategy. After an energetic conversation with Lauren, we  began the process of inviting artists for interviews from the various States we would be virtually traveling in. We have begun this process for July in Arkansas and we have had a stellar success. In our first week we were so excited to receive national recognition in the Blog by Leslie Newell Peacock of The Arkansas Times.

Lauren and I are wanting  to complete this project by January 2012 and in order to do this we will have to escalate the process and do our artist interviews in two States in every month.  At the conclusion of this project in 2012 we will be producing an traveling exhibition with the artists that we have interviewed. As well as we will be publishing a book with all the artists interviews and work.  We hope you all are enjoying this series as much as we are.

In August Art is Moving will be virtually art traveling to Missouri and Kansas.  As well as, we be introducing a new social media art project . We will keep you posted. We are always evolving.

Thanks for engaging! 
Namaste, Lisa

I am Artist James Yale

Why are you an artist?

 I really don’t know. It’s probably a basic primal

response to, every action has an equal and opposite reaction. An inherent form of communication that precedes oral and written language.

Can you talk about your work?

I much prefer to let the work speak for its self  I really don’t spend time trying to choose or analyze what I do. I may think I have an idea or concept to start with… but then the work takes on a life of its own.

What is your vision?

My vision is to let the work stimulate the observer to create their own story and personal vision.

 Can you talk about your mythological and fantasy work?

Mythology and fantasy are images that combine illusion and reality and help to try to explain what can’t be your surrealistic portraits, and your cosmic space portraits? They are only illustrations that incorporate bits and pieces of reality that are recognizable and let them dissolve into images that are impossible juxtapositions, illusions or dreams.

Which is your favorite portrait and why?

I have several, depending on my mood and frame of mind. They are; “The lady of blue Chalcedony”, “I caught a fleeting glimpse”,

"Albert Einstein-mystery solved” and “Darwin”. Why? They are visual reminders, “Imagination is more important than knowledge”- Einstein

 Talk about the M.A.P. Masters Apprentice Preservation Foundation? 

M.A.P. is a registered and licensed Nonprofit Foundation. Its mission is to help aging and disabled master artists find apprentices, that can help them work and do the things they can no longer do themselves, in trade for learning directly from these master artists.The apprentices are required to preserve and document the master’s life story and story work so it may be preserved in history. The apprentices may receive scholastic credits from High School or College programs that are affiliated with M.A.P.

http:www.guardian.co.uk/culture/2110/jul/02/bp-arts-sponsorship-tate-protests

 Any thoughts about this article?

Yes. “In every truth…there is a lie… and in every lie …there is a truth.”

Should patrons monies be refused if their dealings are causing harm to society?

“No.” Here is a basic rule of physics: “Nothing can exist without both positive and

negative forces or energy. On that same note. All patrons should make anonymous

donations for the sake of supporting the arts and not expect or receive corporate

recognition, which is no more than paid advertising.

 How does nature, the land, landscape, the environment affect our creativity?

Everything in the entire universe is connected in one way or the other. Everything

affects or creativity! Creativity may result in either a positive action or negative

reaction depending on our perception of what we experience or feel. Does it form it? Yes! We are all smoke and mirrors. It’s another example of, “Cause and Effect”. There are, no right or wrong answers.

What is the role of the artist in our society?

Everything! With out art we are nothing. As in Einstein’s quote, “Imagination is more important than knowledge”, not even the most insignificant and mundane item, product or service could have come into existence with out the imagination to first create it. This is the true aspect and goal of all artists to use their imaginations and create. Unfortunately artists are never recognized or appreciated for their true worth and in Arkansas? “Hey...They are just unemployed bums, alcoholics, drug addicts and perverts, just painting little pictures of flowers, pigs and out houses?”

Where do you see yourself as an artist in 5 years?

Still working in my studio and going fishing…I hope. And still trying to keep up with my website

www.jamesyale.com

What are your ultimate goals as an artist?

That depends whether I win the lottery or not. I’ll probably just create things to amuse myself and become the old illusive hermit artist that I already am. (To create as much…and have as much fun as I can)

What does art mean to you?

“Everything!” It means I have a sense of humor to be able to observe life in all the negative and positive forms and create illusions that let people wonder what or why? It just is!

James began selling his art while still in high school and subsequently opened his first studio and later owned and operated studios and galleries in Missouri,  Texas and Arkansas. At the same time he has traveled across the country sketching and painting portraits and receiving commissions for over 45 years. Yale has won many awards across the country in both commercial and fine art.  His client list includes portraits of John Tyson, founder of Tyson Foods, Sam and Helen Walton of Wal-Mart, past President Bill Clinton, Doctor Spock, Willie Nelson, and countless others. Now in his 60's, Yale is internationally known, continues to paint and is writing a new artist novel.

"Understanding awareness, waking or dreaming, is the quest of a lifetime which I’ve used to enrich my art. These glimpses of a deeper understanding keep me exploring, and give intrigue to my art, with a sense of knowingness, but without being able to say what it’s about.” –James Yale

Crystal Bridge Museum in Bentonville, Arkansas

As part of our I am Artist series we like to discover new Art happenings in the State that are we virtually residing in.


This new museum in Arkansas looks phenomenal! The Architect Moshe Safdie work creates such harmony with the environment- it  is stunning. 
I cannot wait to visit it.

Crystal Bridges, is a art museum created by Alice Walton Wal-Mart heiress, it scheduled to be open 2010. 
Has been delayed till 2012.  http://crystalbridges.org/

Architect Moshe Safdie design the museum and he glass and light wood and he put two ponds at the center of the compound which are spanned by bridges. http://www.msafdie.com/#/projects/crystalbridgesmuseumofamericanart

The museum will house a permanent collection of signature works from American artists along with galleries dedicated to regional art and artists including Native American art. Some announced works of the permanent collection include: Hudson River School masterwork Kindred Spirits by Asher B. Durand, which is currently on loan to The San Diego Museum of Fine Arts; Charles Willson Peale’s 18th century painting of George Washington, which is currently on loan to the Guggenheim Museum, Bilbao, Spain; Gilbert Stuart’s George Washington (The Constable-Hamilton Portrait), which is currently on loan at the Museum of Fine Arts, Houston; Portrait of Professor Benjamin H. Rand by Thomas Eakins, currently on loan to the Philadelphia Museum of Art; Spring, by Winslow Homer; Martin Johnson Heade’s Cattleya Orchid, Two Hummingbirds and a Beetle; and Marsden Hartley’s Hall of the Mountain King.

Crystal Bridge Musuem expect 250,000 visitors a year

posted from -http://flipclan.com/crystal-bridge-museum-in-bentonville-arkansas/

I am Artist Michael Peven

Why are you an artist? 

Because I enjoy the challenge of creating unique objects that can be seen and experienced by others and potentially change the way they think about their world. 

Can you talk about your photography and installation.
What is your vision?      
                                                                                     
I am endlessly fascinated by the reciprocal relationship that photography has with reality. The way we, as a culture, consider photographs as legitimate representations of existing visual reality. “If you can photograph it, it must be real”. Whatever “it” is. Photography is the most sophisticated medium of visual information transfer that we have yet to come upon. And yet, a photograph, is just a piece of paper with silver crystals or small droplets of ink put together in such a way as to replicate something that we assume is/was real.

What influences your composition and concept? 

My influences come pretty directly from an education that was Bauhaus oriented. My creative works have always had something to do with the idea of challenging myself and the people who view my work in a variety of conceptual and physical ways. I consider my approach to be “formal” in the sense that it is often dealing with the medium I’m working with. I think my best photographs are about what a photograph is. My best books and the installation have a lot to do with what those types of objects are and can be.

Tell us about the interactive nature of some of your work
(example:  Open...Heart Surgery).  What do you think adding a tactile
component to you work does for the piece?

It’s important to me to involve viewers on a variety of conceptual and physical levels when engaged with my work. The books, for instance, have a lot to do with the physicality of the object and the viewers interface with them. A book is possibly the most physically interactive object an artist can make. It must be constantly handled. It's must be opened and the pages must be turned in order to make any sense of the content. If the content has to do with what happens when you turn those pages, it engages the participant on levels that go beyond the simply conceptual. I think of opening and turning the pages of a book as an event. One that can be infinitely varied and suggestive.

The environmental installation work has to do with an investigation of the photograph as a symbolic representation of reality presented at the scale of architecture. The imagery and presentation of the work is deliberately capricious (a dog in this case) as a means of attracting viewers at an initial level of interest. Their experience in viewing the installation completes the work as the physical necessity of their involvement consummates the rendezvous. Each observer brings his or her own physical characteristics and perceptual prejudices to the work, thereby "completing" the piece

How do you like working in academia? Pros and Cons?

Generally I like it. I really enjoy working with students and helping them achieve their goals as creative artists. The job also compels me to stay current with concepts and techniques in contemporary art and photography, which have changed significantly during the course of my career.

Pros: Working with students. The constant change of people, personalities. The energy and creativity of students are all inspiring. Especially graduate students many of whom have become colleagues and friends.

Cons: Politics, budget, salaries, administration and the way most people (faculty and staff) are treated by the institution. 

Social Question:  Check out the link below...
 
 http://www.guardian.co.uk/culture/2010/jul/02/bp-arts-sponsorship-tate-protests

Any thoughts about this article?  Should patrons monies be refused
if their dealings are causing harm to society ?

Certainly the idea of using “tainted” money to support creative activities is, in some ways, abhorrent. But if we look back on artistic patronage through the ages can we really say that every patron has been or needed to be a sterling example of societal responsibility? I think not. Every patron has their own agenda.

Should individuals and institutions reject public funding because the government has engaged in irresponsible and harmful activities? Such as wars in the middle east to help protect the supply of oil.

It’s a slippery slope to negotiate and one that I’m not ready to pass judgment on. We’ve gotta look at ourselves when we condemn BP. Until we are ready to give up our cars and dependence on oil energy, we are all to blame…

How does nature, the land, landscape, the environment affect our creativity?
Does it form it? 

Certainly nature, the land, environment, etc. form the basis of a lot of our creativity. We are confronted with our environments, physical and social, in our every day lives. We cannot help but to turn towards those areas for our inspiration in creative endeavors. 

 

What is the role of the artist in our society? and in Arkansas?

Artists have traditionally used their skills to record and comment on their surroundings. They have made images and objects that talk about the natural and manmade environment, about their religious beliefs, about the human condition and even about art itself. Modern artists are no different nor should they be. The conditions of our environment(s) have changed as have the ways in which we can and do express ourselves regarding them. However, the reasons artists make the things has remained the same. We do it to tell the world what we think about it.

The role of the artist in Arkansas is no different than anywhere else. Art is a universal language and practice. An Arkansas artist is no different from one in New York in regard to their “role”.

  What is the role of the art gallery in society?

There are too many different types of galleries to make a general statement. There are commercial galleries whose role would be to promote the artists they represent. But there are also non-profit galleries, cooperative galleries, educational galleries in universities and museums. Each has their own role in society. However, if they have anything in common, it is their desire to promote, though exhibitions, art that they believe is substantial and of public interest.

  Where do you see yourself as an artist in 5 years?

I  can’t tell you where I see myself as an artist 5 minutes from now! Hopefully in 5 years I’ll have finished some of the projects that are backing up on me. I’ve got ideas for several books that date back to graduate school! And notes on potential projects coming out of my ears. I see myself as being busy making the things I love to make. Photographs, books and maybe more installation work.

  What are your ultimate goals as an artist?

To ask the people who view my work to stop for a moment and think about their relationship to the world. Particularly, their personal physical connection to photographs, books and space. And, especially, for them to enjoy that journey.

What does art mean to you?

Art is a way for me to express my ideas about the things I’m interested in.

Whether they are the physical/natural manifestations of the world, social or cultural ideas or personal interests. I’m fascinated with the possibility of using photographs, books and installation work as a means of exploring those ideas as well as those forms of execution.

May Ray said that art was “a sublime form of play”. I like that quote a lot. It’s also said that art is 1% inspiration and 99% perspiration. When I’m working on it, I sweat a lot…

To check out more of Michael's work please go to
http://comp.uark.edu/~mpeven/Site/Home.html

Professor of Art
Art Department
116 FNAR
University of Arkansas
Fayetteville, AR
72701-1201
mpeven@uark.edu

I am an Artist: Amanda Salov

Why are you an artist?

I never chose to be an artist. I grew up in rural Wisconsin with rich black mud between my toes. We often road our bikes to the neighbor’s houses which were also their work places. My neighbors included farmers, a car mechanic and a potter. Since a very young age I knew I wanted to work with clay. I never thought of it as art, but rather just another thing a person does. I went on to college where I started to think about clay as an art material and then graduate school where I was truly a student of art. Now I am at a point where I am beginning to see myself as an artist who can communicate things through my work that otherwise I would not be able to express.

Can you talk about your ceramic work? What is your vision?

As I alluded to earlier I began making work as a potter. Now my work is much more sculptural but the ideas essential to a good pot have carried through to my sculptural work. The idea of touch is very important to me and I really want the viewers to want to touch my work. I do this through a variety of textures, colors and visually ambiguous weight. Psychologically I want my work to bring the viewer, as well as myself, to the present moment. Often fragile and waiflike, my work often makes one question whether it is okay to breathe too close to it. So, I often talk about the fragility of a moment and essentially that beauty is temporary which makes it valuable.

Why do you use the medium that you use?

Clay is the ideal retainer of touch. It can be thick or thin, strong or delicate, white or red. It can essentially carry opposing factors at the same moment, which is the best way for me to communicate balance. I also love the fact that the research and science can never end for the rest of my life with this material. There are so many facets and so much one can learn within the umbrella term of clay.

How do you like working in academia? Pros and Cons?

I am a very different kind of academic or so I’ve heard from my students. I love challenging students to think outside of their preconceived notions. I love teaching them that failures are not failures at all but one can learn from them and find new frontiers. Pulling out a student’s strength and showing it to them is by far my favorite part of teaching. I don’t like meetings, paperwork or protocol in general.

Social Question

http://www.guardian.co.uk/culture/2010/jul/02/bp-arts-sponsorship-tate-protests

Any thoughts about this article? Should patrons monies be refused if their dealings are causing harm to society ?

Oh boy, without patrons (ethical or not) these kinds of institutions would not survive. This brings to mind Houston, which has a wonderful collection of museums sponsored by the Menil family. Again, oil money. Don’t get me wrong, I am very angry with BP. But I am also very angry with Ford. My solution is to buy as much as I can seasonally and locally, especially food wise. I commute by bike and carpool when I can. I think the problem is much, much bigger than BP. The thing is BP is a company serving our gas thirsty desires. Would the other oil companies have responded differently? Was it ethical to dig up and pump out oil from the gulf and endanger that ecosystem? Is our consumption of oil ethical? I hope that this tragedy forces our unethical oil sucking society to re-think it. In short, if BP wants to throw down some cash for the Tate, I’d say fine. We have bigger issues to worry about.

What is the role of the artist in our society? and in Arkansas?

An artist’s job is to communicate something. Sometimes it takes the form of a narrative and sometimes it is more abstract, giving a feeling or an essence of an idea. The thing that everyone always says is that everything has been done. I give that a giant eye-roll. You see, this has never happened before. There has never been someone who has experienced the same world that you have and you bring all of that to the work and what you are communicating. So often it is the same ideas communicated with a different perspective. If it were always communicated in the same way we wouldn’t hear it. This is universal so it is the same in Arkansas.

Where do you see yourself as an artist in 5 years?

In 5 years, I will be thirty- five and married. I won’t be in Arkansas anymore. My husband-to-be and I have decided we will both apply next year, him for a Ph. D program and me for a tenure-track teaching position, all over the place. We will go with the better option. Hopefully it will be Hawaii for his program. If so, I will teach art in some capacity and make art full-time. I love the idea of this question because I’ve found that you can make plans but they always change. I am open to anything as long as I have a space to make my work.

What are your ultimate goals as an artist?

I think about the Nina Simone song a lot, “Please don’t let me be misunderstood.”

What does art mean to you?

Life would not be worth living without art. It would be bland, robotic, boring and we would not be able to learn. You see, art is everywhere, it is in the writing, music, architecture, entertainment and everywhere else. It is when a human being adds their take on a message or an idea and then another one builds off from that and so on and so fourth for the rest of our time here.