\n \n Unit 9 <\/span>\n\n \n \n RECIEVING AND ASSIMILATING FEEDBACK <\/span>\n <\/h1>\n<\/div>\n\n <\/div>\n <\/div>\n <\/div>\n \n \n \n \n \n \n\n \n Unit Overview:<\/strong><\/h3>\n\n- Read unit introduction<\/li>\n
- Read excerpt from Letters to a Young Poet<\/em><\/li>\n
- Take some time this week to reflect on your work in advance of the studio visit<\/li>\n<\/ul><\/div>\n <\/div>\n<\/div>\n\n <\/div>\n \n \n\n \n
“The world offers vastly more support to work it already understands- namely art that\u2019s already been around for a generation or a century.<\/span>“<\/h4>\n-Bayles and Orland<\/h6><\/div>\n <\/div>\n<\/div>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n \n \n \n\n \n In the context of an academic setting it\u2019s easy to feel tossed by the winds of others\u2019 opinions. <\/span><\/h5>\nOne professor encourages you in one direction, another tells you to do the opposite, your colleagues have other opinions. It can certainly throw you into a state of confusion and paralysis. However, the beautiful thing about having all of these disparate opinions is that you realize that it is in fact your<\/em> job to make the final decision about the work.\u00a0<\/span><\/p>\nThe challenge, risk and freedom of being an artist is claiming artistic decision making, not \u201cabdicating [decisions] to others\u201d (Bayles and Orland, 38).<\/span><\/p>\nA friend reminded me recently that as a grad student, when I had a scheduled critique with a professor or visiting artist, I would<\/span> first<\/span><\/i> give myself a critique on the work. I would spend twenty minutes prior to the studio visit\u00a0 simply reflecting on the work and writing about it before I opened my studio to someone outside. It was a practice that served to both ground me in my intention for the work and at once made me more open to what that person had to offer.\u00a0<\/span><\/p>\nWhat would it look like for you to find a practice of self-critique or reflection for your own work?<\/span><\/p> <\/div>\n<\/div>\n <\/div>\n
Unit Overview:<\/strong><\/h3>\n\n- Read unit introduction<\/li>\n
- Read excerpt from Letters to a Young Poet<\/em><\/li>\n
- Take some time this week to reflect on your work in advance of the studio visit<\/li>\n<\/ul><\/div>\n <\/div>\n<\/div>\n\n <\/div>\n \n \n\n \n
“The world offers vastly more support to work it already understands- namely art that\u2019s already been around for a generation or a century.<\/span>“<\/h4>\n-Bayles and Orland<\/h6><\/div>\n <\/div>\n<\/div>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n \n \n \n\n \n In the context of an academic setting it\u2019s easy to feel tossed by the winds of others\u2019 opinions. <\/span><\/h5>\nOne professor encourages you in one direction, another tells you to do the opposite, your colleagues have other opinions. It can certainly throw you into a state of confusion and paralysis. However, the beautiful thing about having all of these disparate opinions is that you realize that it is in fact your<\/em> job to make the final decision about the work.\u00a0<\/span><\/p>\nThe challenge, risk and freedom of being an artist is claiming artistic decision making, not \u201cabdicating [decisions] to others\u201d (Bayles and Orland, 38).<\/span><\/p>\nA friend reminded me recently that as a grad student, when I had a scheduled critique with a professor or visiting artist, I would<\/span> first<\/span><\/i> give myself a critique on the work. I would spend twenty minutes prior to the studio visit\u00a0 simply reflecting on the work and writing about it before I opened my studio to someone outside. It was a practice that served to both ground me in my intention for the work and at once made me more open to what that person had to offer.\u00a0<\/span><\/p>\nWhat would it look like for you to find a practice of self-critique or reflection for your own work?<\/span><\/p> <\/div>\n<\/div>\n <\/div>\n
“The world offers vastly more support to work it already understands- namely art that\u2019s already been around for a generation or a century.<\/span>“<\/h4>\n-Bayles and Orland<\/h6><\/div>\n <\/div>\n<\/div>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n \n \n \n\n \n In the context of an academic setting it\u2019s easy to feel tossed by the winds of others\u2019 opinions. <\/span><\/h5>\nOne professor encourages you in one direction, another tells you to do the opposite, your colleagues have other opinions. It can certainly throw you into a state of confusion and paralysis. However, the beautiful thing about having all of these disparate opinions is that you realize that it is in fact your<\/em> job to make the final decision about the work.\u00a0<\/span><\/p>\nThe challenge, risk and freedom of being an artist is claiming artistic decision making, not \u201cabdicating [decisions] to others\u201d (Bayles and Orland, 38).<\/span><\/p>\nA friend reminded me recently that as a grad student, when I had a scheduled critique with a professor or visiting artist, I would<\/span> first<\/span><\/i> give myself a critique on the work. I would spend twenty minutes prior to the studio visit\u00a0 simply reflecting on the work and writing about it before I opened my studio to someone outside. It was a practice that served to both ground me in my intention for the work and at once made me more open to what that person had to offer.\u00a0<\/span><\/p>\nWhat would it look like for you to find a practice of self-critique or reflection for your own work?<\/span><\/p> <\/div>\n<\/div>\n <\/div>\n
In the context of an academic setting it\u2019s easy to feel tossed by the winds of others\u2019 opinions. <\/span><\/h5>\nOne professor encourages you in one direction, another tells you to do the opposite, your colleagues have other opinions. It can certainly throw you into a state of confusion and paralysis. However, the beautiful thing about having all of these disparate opinions is that you realize that it is in fact your<\/em> job to make the final decision about the work.\u00a0<\/span><\/p>\nThe challenge, risk and freedom of being an artist is claiming artistic decision making, not \u201cabdicating [decisions] to others\u201d (Bayles and Orland, 38).<\/span><\/p>\nA friend reminded me recently that as a grad student, when I had a scheduled critique with a professor or visiting artist, I would<\/span> first<\/span><\/i> give myself a critique on the work. I would spend twenty minutes prior to the studio visit\u00a0 simply reflecting on the work and writing about it before I opened my studio to someone outside. It was a practice that served to both ground me in my intention for the work and at once made me more open to what that person had to offer.\u00a0<\/span><\/p>\nWhat would it look like for you to find a practice of self-critique or reflection for your own work?<\/span><\/p> <\/div>\n<\/div>\n <\/div>\n
The challenge, risk and freedom of being an artist is claiming artistic decision making, not \u201cabdicating [decisions] to others\u201d (Bayles and Orland, 38).<\/span><\/p>\n A friend reminded me recently that as a grad student, when I had a scheduled critique with a professor or visiting artist, I would<\/span> first<\/span><\/i> give myself a critique on the work. I would spend twenty minutes prior to the studio visit\u00a0 simply reflecting on the work and writing about it before I opened my studio to someone outside. It was a practice that served to both ground me in my intention for the work and at once made me more open to what that person had to offer.\u00a0<\/span><\/p>\n What would it look like for you to find a practice of self-critique or reflection for your own work?<\/span><\/p> <\/div>\n<\/div>\n <\/div>\n
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