Tuesday, October 16, 2007
Monday, October 15, 2007
Seattle Artist Profile
By this point in time, you have researched a local artist, interviewed him/her about his/her work, done a freewrite of your observations and reflections of the interview, and typed up your notes. Now, you are ready to begin the process of writing a profile of the artist.
What is a profile?
A profile serves as an introduction to an artist, providing the reader with insight to the artist’s life and/or work and communicating what is unique, interesting, or compelling about the individual.
What makes a good profile?
A well-written profile draws the reader in by painting a portrait with words. It shows rather than tells about the artist by incorporating precise observations about the artist’s behavior, his/her work, working environment, and working process to make the reader feel as if he/she were there. It sparks the reader’s curiosity about and engagement with the artist. The language is active and descriptive.
Direct quotations from the artist can make a profile come alive. A person’s words provide a direct experience of the individual, and help to convey personality and temperament as well as point of view.
As a baseline, the information in the profile must be accurate. But it must go further. It must be well-informed, providing greater depth than what someone could learn by simply reading the artist’s biography. It should offer context for comprehending the artist’s work.
Where do I start?
First, reflect on the experience of the reader, who may be learning about this artist for the first time. What characterizes this artist’s work? What is essential to know in order to grasp it? Jot down notes.
Next, review your notes from the interview. What did the artist have to say that was particularly insightful or compelling? What discoveries and realizations did you experience in the course of your interview? What did you learn that was new or surprising? Flag or otherwise highlight noteworthy quotations and telling details.
Based on what you’ve learned about the artist and your personal interview, consider what kind of story you have to tell. (Did the individual share his/her philosophy of art? tell you his/her life story? offer advice about how to get started in the business? inspire you to explore your own artistic practice with greater commitment?) Do you want to share a blow-by-blow account of your interview, or an overview of the artist’s career and philosophy? Do you want to focus on one performance/exhibition/concert/piece by the artist, or his/her whole oeuvre? What do you have to offer to the discussion of this artist’s work that hasn’t already been said? Jot down notes.
How do I get rolling?
Once you’ve determined (at least for now) what kind of story you have to tell, start writing.
Freewrite. Cut loose. Tell the story as it comes to you. Find the flow of words, images, and ideas. (Anne Lamott, author of Bird by Bird: Some Instructions on Writing and Life, refers to this stage as “the shitty first draft.” Don’t worry about making it perfect. Don’t worry about making a mess. What matters is that you get your ideas written down. Then, later, you will go back and build on your best ideas and cut away what doesn’t work.)
What’s the next step?
Read your freewrite. Find what’s valuable in it and flag those sections. Now you’re ready to rewrite and structure the story.
Lead off with an eye-catching quotation from the artist, a vivid description of the individual, or a sharply observed description of the artist’s work space. Your first paragraph should grab the reader’s attention.
Take your reader through your story, step by step. Include telling details, concrete images, and direct quotations to illustrate your points. (Show, don’t tell.)
Bring the piece to a conclusion when the story is done. (Length is less important that substance.)
Now that I’ve written a draft, aren’t I done?
You’ve really just gotten started. Read your profile aloud. Does it flow? Is it clear? Does it communicate a vivid sense of the artist? Note elements you’d like to change, sentences you need to sharpen, ideas you’d like to clarify or amplify.
Double-check your facts. Read your profile with a questioning spirit, clocking everything that you need to verify (spelling, names, places, dates, etc.). Go back over your notes from the interview, consult your research, and (if necessary) contact the artist for verification.
Revise your draft until you’re satisfied with it. Proofread and make corrections.
Now that I’ve got a revised draft, I’m done, right?
Nope. Now you need perspective. Share your profile with another student or a tutor in the Writing Center. Invite feedback and listen to responses.
Revise as needed. Carefully proofread and make corrections.
What else is needed to prepare the draft for class?
Type your profile, double-spaced with one-inch margins. At the top of the page, write your name, the date, “Seattle Arts Ecology,” and “Artist Profile.” Proofread for spelling mistakes, grammar errors, typos, etc. Make corrections as needed.
Save a copy of the paper on your computer, and print a copy to bring to class.
Due Dates
· Write first draft of artist profile by Friday, October 19
· Revise artist profile and prepare class presentation by Monday, October 22
What is a profile?
A profile serves as an introduction to an artist, providing the reader with insight to the artist’s life and/or work and communicating what is unique, interesting, or compelling about the individual.
What makes a good profile?
A well-written profile draws the reader in by painting a portrait with words. It shows rather than tells about the artist by incorporating precise observations about the artist’s behavior, his/her work, working environment, and working process to make the reader feel as if he/she were there. It sparks the reader’s curiosity about and engagement with the artist. The language is active and descriptive.
Direct quotations from the artist can make a profile come alive. A person’s words provide a direct experience of the individual, and help to convey personality and temperament as well as point of view.
As a baseline, the information in the profile must be accurate. But it must go further. It must be well-informed, providing greater depth than what someone could learn by simply reading the artist’s biography. It should offer context for comprehending the artist’s work.
Where do I start?
First, reflect on the experience of the reader, who may be learning about this artist for the first time. What characterizes this artist’s work? What is essential to know in order to grasp it? Jot down notes.
Next, review your notes from the interview. What did the artist have to say that was particularly insightful or compelling? What discoveries and realizations did you experience in the course of your interview? What did you learn that was new or surprising? Flag or otherwise highlight noteworthy quotations and telling details.
Based on what you’ve learned about the artist and your personal interview, consider what kind of story you have to tell. (Did the individual share his/her philosophy of art? tell you his/her life story? offer advice about how to get started in the business? inspire you to explore your own artistic practice with greater commitment?) Do you want to share a blow-by-blow account of your interview, or an overview of the artist’s career and philosophy? Do you want to focus on one performance/exhibition/concert/piece by the artist, or his/her whole oeuvre? What do you have to offer to the discussion of this artist’s work that hasn’t already been said? Jot down notes.
How do I get rolling?
Once you’ve determined (at least for now) what kind of story you have to tell, start writing.
Freewrite. Cut loose. Tell the story as it comes to you. Find the flow of words, images, and ideas. (Anne Lamott, author of Bird by Bird: Some Instructions on Writing and Life, refers to this stage as “the shitty first draft.” Don’t worry about making it perfect. Don’t worry about making a mess. What matters is that you get your ideas written down. Then, later, you will go back and build on your best ideas and cut away what doesn’t work.)
What’s the next step?
Read your freewrite. Find what’s valuable in it and flag those sections. Now you’re ready to rewrite and structure the story.
Lead off with an eye-catching quotation from the artist, a vivid description of the individual, or a sharply observed description of the artist’s work space. Your first paragraph should grab the reader’s attention.
Take your reader through your story, step by step. Include telling details, concrete images, and direct quotations to illustrate your points. (Show, don’t tell.)
Bring the piece to a conclusion when the story is done. (Length is less important that substance.)
Now that I’ve written a draft, aren’t I done?
You’ve really just gotten started. Read your profile aloud. Does it flow? Is it clear? Does it communicate a vivid sense of the artist? Note elements you’d like to change, sentences you need to sharpen, ideas you’d like to clarify or amplify.
Double-check your facts. Read your profile with a questioning spirit, clocking everything that you need to verify (spelling, names, places, dates, etc.). Go back over your notes from the interview, consult your research, and (if necessary) contact the artist for verification.
Revise your draft until you’re satisfied with it. Proofread and make corrections.
Now that I’ve got a revised draft, I’m done, right?
Nope. Now you need perspective. Share your profile with another student or a tutor in the Writing Center. Invite feedback and listen to responses.
Revise as needed. Carefully proofread and make corrections.
What else is needed to prepare the draft for class?
Type your profile, double-spaced with one-inch margins. At the top of the page, write your name, the date, “Seattle Arts Ecology,” and “Artist Profile.” Proofread for spelling mistakes, grammar errors, typos, etc. Make corrections as needed.
Save a copy of the paper on your computer, and print a copy to bring to class.
Due Dates
· Write first draft of artist profile by Friday, October 19
· Revise artist profile and prepare class presentation by Monday, October 22
Live Theatre Week
In celebration of Live Theatre Week in Seattle (through Sunday), many local theatres are offering backstage tours, workshops, and other events. For more information, visit: http://seattletimes.nwsource.com/html/entertainment/2003947762_livetheatre15.html
Sunday, October 14, 2007
Trimpin
I enjoyed reading about Trimpin's exhibits and how he has come up with innovative ways of using sound in an artistic context. Although I have never actually seen Trimpin's work, Wagonfeld was effective in conveying the effect that Trimpin has on his viewer simply by admitting defeat when trying to describe his work. She says: "Imagine a toddler banging a wooden spoon against bowls and pots while fans whir and water drips. Multiply the complexity by thousands and square it tenfold. OK, forget it. It cannot be assessed by mere mortal minds."
peter boal
This article was more difficult for me to feel like I was getting information from, since I know close to nothing about the differences between classical and modern ballet to begin with. It's impressive that Mr. Boal has had such a far-reaching impact on the progression of modern ballet, yet it is hard for me to know the effects as I am unfamiliar with what this means.
Artopian Seattle
It was interesting reading this article because not since I came to Seattle did I realize how much art exists in this city. It is interesting that other cities seem to get more attention and media coverage than others for their artistic endeavors, and having the awareness now of just how creative and progressive the Seattle art scene is -from fine art to theater to music-it is curious to me that I hear so little about it when I am outside of it. This article seemed to have the same sentiment as well as a hope for the future of Seattle and how it is recognized for its culture.
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