A Throw of the Dice

In response to “a throw of the dice”, the author commented on the gambles that artists take in order to either gain some acclaim, and sometimes that they can go as far to damage their reputation as a living and working artist. This means going to far on a concept that might bring them some backlash or pursuing an idea that might simply be too bizarre for the public. At any rate, the artist must do something to stick out from the rest, to keep their work interesting and appealing. This can really drive their process forward. On the flip side of the coin, there are critics that can also do things that might be irrational or say things that go beyond our understanding and not have quite the same repercussions. The critics can speak out against some work and say negative comments towards it without quite as much backlash. What the author in this article suggests is that critics can unrightfully make a claim against someone’s work, and have it be not quite as big of a gamble to their own reputation.

The author dives into how this is directly related into what the artist Sarah Meyohas is working with in her art. A body of work she is currently working on is titled “AMEN Properties, Inc. on January 19, 2016” where she uses the stock market to making thin black lines from oil on a canvas. The work is approached minimally and by chance. It is through the gambles that we take with our own money that dictate the visual nature of these works.

I suppose so it goes with a lot of our own work, art and life in general. It is a gamble and we have to be willing to take those risks to move beyond our own knowing. We must do challenge what has already been placed before us and do something different, something exciting, whatever that may be. However, there is a draw back to doing such things. We know at the end of the day we need a place to live, clothes to wear and food to eat. This is accomplished through the means of money. The whole world as we know it currently is a system fueled on the distribution and exchange of some type of currency. Money plays such a huge part in within our capitalist society. This can be problematic, however, because it makes even our creative mindsets attune to the notion of money. We are working towards getting the work criticized so that the work can gain attention and things can be sold. I would propose that this is not a solution that will drive an art movement forward, and certainly not artistic experimentation. Let’s throw the die, but not worry so much as to where it lands.

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Andile Dyalvane and South African Ties

South African ceramist Andile Dyalvane discusses how his work is inseparable from his birthplace and from his spirituality. This directly correlates to what we have been talking about in class. He is based in New York, but who he is and how he as an artist functions is related to his origin/nationality. These parts of our lives we cannot escape. We are connected deeply to our roots, and I believe artists such as Andile try to uncover these roots. Maybe we are constantly trying to rediscover who we are as human and spiritual beings. As artists and people, we are products of our environments and construct our own understanding of the world through a collective of constructions and associations of priori knowledge.

His work is made out of ceramics, a medium consistently associated with the word “primitivism”. The trade feels like it is dying, that what we’ve done in the past is done and we cannot move forward in the ideas and the way we think about ceramics. With this tie, it is very hard to combat the associations with art that it is low-brow and close to never considered avant garde.

How do we deconstruct this idea of the mundane within ceramics and within art that is from the “other”, non-western form of art? What can we do associate and re-validate those of preserve the past and exist beyond we know to be contemporary art? These are the questions we need to consider to propel our own movement forward and how Andile propels his.