Brian Eno's Oblique Strategies

Abandon desire

Abandon normal instructions

Accept advice

Adding on

A line has two sides

Always the first steps

Ask people to work against their better judgement

Ask your body

Be dirty

Be extravagant

Be less critical

Breathe more deeply

Bridges -build -burn

Change ambiguities to specifics

Change nothing and continue consistently

Change specifics to ambiguities

Consider transitions

Courage!

Cut a vital connection

Decorate, decorate

Destroy nothing; Destroy the most important thing

Discard an axiom

Disciplined self-indulgence

Discover your formulas and abandon them

Display your talent

Distort time

Do nothing for as long as possible

Don't avoid what is easy

Don't break the silence

Don't stress one thing more than another

Do something boring

Do something sudden, destructive and unpredictable

Do the last thing first

Do the words need changing?

Emphasize differences

Emphasize the flaws

Faced with a choice, do both (from Dieter Rot)

Find a safe part and use it as an anchor

Give the game away

Give way to your worst impulse

Go outside. Shut the door.

Go to an extreme, come part way back

How would someone else do it?

How would you have done it?

In total darkness, or in a very large room, very quietly

Is it finished?

Is something missing?

Is the style right?

It is simply a matter or work

Just carry on

Listen to the quiet voice

Look at the order in which you do things

Magnify the most difficult details

Make it more sensual

Make what's perfect more human

Move towards the unimportant

Not building a wall; making a brick

Once the search has begun, something will be found

Only a part, not the whole

Only one element of each kind

Openly resist change

Pae White's non-blank graphic metacard

Question the heroic

Remember quiet evenings

Remove a restriction

Repetition is a form of change

Retrace your steps

Reverse

Simple Subtraction

Slow preparation, fast execution

State the problem as clearly as possible

Take a break

Take away the important parts

The inconsistency principle

The most easily forgotten thing is the most important

Think - inside the work -outside the work

Tidy up

Try faking it (from Stewart Brand)

Turn it upside down

Use an old idea

Use cliches

Use filters

Use something nearby as a model

Use 'unqualified' people

Use your own ideas

Voice your suspicions

Water

What context would look right?

What is the simplest solution?

What mistakes did you make last time?

What to increase? What to reduce? What to maintain?

What were you really thinking about just now?

What wouldn't you do?

What would your closest friend do?

When is it for?

Where is the edge?

Which parts can be grouped?

Work at a different speed

Would anyone want it?

Your mistake was a hidden intention

Gestural reflections for Thanksgiving and..

2 weeks to go.  Have a great break.

Questions to consider in revising Artist Statement

1.  What motivates me to make art?
What inspires my creative process?
2.  What elements of my work are most important to me?
         -materials, emotions, technique, form, politics, spirituality, color, scale, clarity, nature, memory, beauty, function, etc.
     What is the significance to me of the elements that I've identified as important?
3.  What sensations and emotions do I experience when making a work of art?
     What are my sources of gratification?  Of frustration.
4.  How does my mind work while I am creating?
What Kinds of decisions do I make?
5.  From the perspective of craft, what steps do I go through in making a work?
6.  What artists and/or works of art have most inspired me and/or influenced me?
     With whose Art do I feel the greatest Kinship?
7.  How has my work developed or changed over time or throughout this course)?
8.  What  would I like viewers of my work to experience when looking at my work?
     What kind of responses would I like them to have?
9.  If somebody else had made my work and I saw it for the first time, what questions would I like them to have?
10. What are my hopes, plans or ideas for future work?
11.  What do I think the role of artists in society should be?

      What would I like my role in society to be...(any)

Excercises for improving Artist Statement

BE HONEST.  It matters not what you make, but rather how you make.

1.  Write a detailed description of your ideal studio.
2.  Use the portrait of yourself to write about the following:
- what you see when you look at the self portrait.
- what you think other people would see if they looked at it.
-what the portrait doesn't show about you.

3.  Recount your earliest memory of making art.  How does that moment from the past relate to who you are as an artist today?
4.  Write an imaginary dialogue or conversation between someone who might not like your work and someone who does.
5.  There is an ancient saying(attributed by Plutarch to Simonides of ceos that poetry is a speaking picture and painting is a silent or mute poem.
      For this exercise, imagine that your work is not silent.  Imagine it can speak.  What would it say? To whom would it have something to say?  Write a monologue whose speaker is your visual work.

6.  Write an imaginary interview.  It could be a reporter doing a piece for the school newspaper or The New York Times.  It could be a filmaker making a documentary about you.  It could be a writer from an art magazine doing a feature about you.

7.  Select a work of non-visual art (a poem, a piece of music, a dance) and write about parallels between that work and your own visual art.

images: self portraits

as you look at/ "read" these SELF PORTRAIT IMAGES do you get any feeling from the medium, the mark, the figure/ground relationship?

http://www.bing.com/images/search?q=self+portraits&qpvt=self+portraits&FORM=IGRE#x0y0

SELF PORTRAITS DUE @ MUSEUM

Hi Draftsmen and Draftswomen or Drawers:

We will be meeting at the U of Iowa Museum @ the IMU for Monday Nov 14 class session.
*come prepared to draw
*bring self-portrait homework ready to present.  Explain/describe how it relates to your final project using the following guidelines and other criteria that you may discover/formulate....

 1.  WHAT IS THE NATURE OF YOUR SELF PORTRAIT AS PRESENTATION.
examples:  documentation(of...), celebration(of...), Masterbation(about????)  ETC ETC, be creative, find a form of your thought ending in -TION.

2.  Does the medium and/or gesture of your mark support your Expression?explain.

3.  Does the Expression on your face react to the idea, attempt to tell the idea or oppose the idea or otherwise?how?

4.  Are you confronting, confounding or otherwise engaging the viewer with your expression?how?

5.  Figure ground relationship- does the placement of your self-portrait on the page support your idea?  THE SCALE?  Close up/far away?  upside-down?

Good Luck, see you at the museum, to talk a bit about presentation.

CHeck it out

http://www.streetartutopia.com/?attachment_id=3570