I wrote this post on how to write an artist statement back in June 2009, and it is still, to this day, in the top five of visited pages on my site every month. In short, I recommended any given statement for a work of art include three things: what the piece is, what we see or experience, and what is at stake in that experience, for us to practice beyond our initial artistic encounter. I expounded on this a bit more, then went on to offer seven additional guidelines for your text, which should, I recommended, be 300-500 words.
But that’s for individual works of art. What about your overarching artist statement, for a series, body of work, or, yet more difficult, your practice overall?
The answer is simpler than you think. Do a statement like this/the above for three or four pieces, individually, then look for overlaps in the stakes between them, in order to write around them. And edit this all down to fit it into one page, maybe 700 words or so.
Too often, artists begin writing an overall statement about their work in a vacuum, or rather, regarding their personal relationship to their art, instead of their viewers’. But “I’m interested in,” or “my work explores,” and “I research and relate….” are about your practice or what you want your work to do. Very often, such statements only describe the last piece you made, the work you wish you were making, or the processes you used to produce them. The experience of viewership of extant art is a very different thing. And writing a material and/or relational experience for us is precisely how you invite audiences in to material and/or relational art.
Your statement should rather start with something similar to the above. “I make x, which do y, and z is why that is important.”
Then… wait for it… …
For example, in [title of piece] … [summarize one artist statement you already wrote. What it is, what we experience, why that’s important. Refer back to this post when writing!].
Or with [do that again, for another piece].
And in [one more time, another piece].
Overall, the work… TA DA!!!
And so, write the immediately above first. Take your individual works for what they are, and do – even ask others what they are and do for them – before you write around them. And be as concise as you can in this.
But Nathaniel, you may say, your artist statement is SUPER long! That’s true. Yet it follows that same format; it just does so three times in a row, for lots of work, with transitions, so that those web surfers looking for specific pieces I am known for will be able to search for them and know they’ve come to the right place. Remember: I have a 20 year artistic research practice, across printmaking, writing, installation, interaction, networked art, sculpture, performance, and more – and some folks only know one or another of the media I work with, depending on their field. Most people who come to my site already know something about me, and are looking for a specific piece, and I make sure they can find it. I wouldn’t put that entire long statement on an exhibition, or send it to a residency. I would choose three pieces, and perhaps write around those, again. And I recommend said same for all my students and peers, in a given space.
Remember: writing, theory, philosophy and storytelling tell us the stakes of what we do and are, what we might be in the future. Art brings those stakes into the room, as material form, or experience. And so you must always include what your art is, and how we engage, so as to have us regard its import. And then write-with that story, think and share, again and again.