Discussion: Bill Durgin Photography

Hello all! In an effort to continue to develop our critique skillset as well as broaden our horizons I am extending the 'field trip' to our blog. These discussion posts will be meant to encourage critical evaluation of the chosen artist's work.

Here are some good pointers (borrowed from emptyeasel.com) on giving constructive criticism:

Take a look through the artist’s eyes.

If you’re going to be critiquing another artist’s work, it helps to know where they’re coming from.

In general, I find it difficult to get a sense of an artist from just one or two paintings, so I like to see several if I can, before critiquing. Having the artist explain what was intended helps too.

If what they’re saying and what you’re seeing doesn’t mesh, then that gives you a place to start. If their intent IS coming through, think about ways to help enhance their vision even more.

Don’t nit-pick the little stuff.

Oddly shaped ears, squarish trees, or an off-color sky. . . Sometimes it’s helpful to point out those flaws, but if there are really a lot of them, focus on the big picture instead.

With technical issues like those, I will usually suggest spending more time in preliminary sketching or I’ll mention the importance of having a strong light source that shows detail. Sure, listing each flaw might help the artist fix this painting, but what about the next one? You can’t always be there.

It’s much better to help them improve their technique or process ONCE than fix the end-results a hundred times. 

Of course, if the artist asks for a nit-picky critique (and some will) then go ahead. It might not be the best way to help, but at least you know they won’t mind. 

Start positive and end positive. 

Always make sure to start off by saying something nice. Even if it’s difficult, findsomething to say. 

After that, be as honest as possible—without being brutal—and then close with another encouraging, positive statement. 

Artists can occasionally be sensitive about their art (a little known fact) so it just makes sense to cushion the blows a little bit. 

Never be vague. 

There’s nothing worse than a vague critique. They usually sound a little bit like this:
“There’s something about your painting that‘s not right. . . I don’t know what, it’s just, you know. . . Something.” 

The truth is, if you don’t have anything to say about the painting it’s probably better to not speak up in a group critique. 

On the other hand, if you’ve got a gut feeling about it, do your best to figure it out so you CAN critique it correctly. 

And finally, keep it short. 

I’ve never yet been in a group critique where time wasn‘t a factor. Say your piece and be done.

Right! Now that we've covered all that let's have a look at some art!

Figure Study by Bill Durgin

Assembled & Fractured by Bill Durgin

Assembled & Fractured by Bill Durgin

I've chosen three photographs from the Web portfolio of Bill Durgin. I do not know him and know nothing of his background, education, goals.

Personally, I like his work. On to the criticism: I would say that his figure studies are more dynamic than the photographs from his Assembled & Fractured series. The stagnant compositions of the Assembled & Fractured series is not necessarily a bad thing: it creates a very strong feeling of solidity and forces viewers to focus on the subject. Since these photographs are a little confusing to begin with this simple and straightforward approach to composition is likely intentional and, in my opinion, successful at guiding the viewer. I would still like to see a departure from the straight-on shot; I feel some exploration of odd angles and weird framing would complement his style.

Leave your thoughts in the comments and let's get a conversation going! What do you think about Mr. Durgin's selected work? How does it make you feel? What are it's successes and failures?

Open Studio Tonight

Tonight is the night! Show up no earlier than 7:30 this evening, bring your own art supplies, snacks and beverages for a chill evening of chatting and arting!

The Good of Do-Gooding

Artists are often approached by individuals and organizations seeking donations. Fine. Ass. Art. Donations.

This can be a great thing for all parties involved. Many times, though, it ends up feeling like everyone and their neighbor is offering $0.00 for something you poured hours into creating. You may have poured some other things into it, too, but what happens behind closed doors is none of my business.

How do you strike a balance between being a do-gooder and a stingy asshole?

How can artists be more active in their communities? How can they reach out and help people feel good about life?

The people over at Megabolt have a great idea: sell sketchbooks to promote art, give sketchbooks and workshops to ill children to brighten their day and teach them a fun, new hobby.

The power of cooperation is amazing: not only does it stimulate feel-good endorphins, it gets shit done. Why is it, then, that America has fostered a massive population of competitive individuals who not only feel entitled to winning, but who also feel no one else should win? Why is it so taboo to work together when time and again cooperative efforts are proven much more effective. On top of that, cooperating rarely makes people feel like prols.

Last Day for Cedars Spring Show Submissions!

E-mail your submissions to 2ndthursday@gmail.com no later than midnight tonight to be considered for display in the Cedars Spring Show on May 4th!

April 11 Forum

At this month's forum we had some new faces - welcome to 2ND Thursday! Also, thank you to returning members who stopped in to contribute - it's always good to see you!

As a reminder: today is the last day to submit work for consideration in the Spring Cedars Open Studio Tour. E-mail your submissions to abmartshow@gmail.com.

The upcoming May 30 Deep Ellum show is May 10, so send your submissions to 2ndthursday@gmail.com no later than that.

2ND Thursday is in need of funds for shirts, posters, stickers and is open to fund raising ideas. Currently, we are accepting donations to help us fun the first round of production.

While we're on the subject of creative production: 2ND Thursday has an open call for logos! Have a go at doing us justice and making us look rad! Once we have closed this round of submissions we will undergo a member vote as to which we want to put on our gear. Just imagine how awesome you'd feel if there was a very small army walking around with your handiwork on their chests!

Don't forget - the Deep Ellum show deadline is May 10. E-mail submissions to 2ndthursday@gmail.com!

Awesome action shot of the night! What a turn out!

April Recommended Reading

Books, Blogs and Magazines

The Cheese Monkeys by Chip Kidd
Farenheit 451 by Ray Bradbury
Labyrinths and Ficciones by Jorge Borges
The Stranger by Albert Camus
The Social Contract by Jean-Jacques Rousseau
Lord of the Flies by William Golding
Notes from Underground by Fyodor Dostoevsky
Death in Midsummer by Yukio Mishima
Boston, A Documentary Novel by Upton Sinclair
Guerilla Warfare by Che Guevara
i: six nonlectures by E. E. Cummings


www.sethgodin.typepad.com
www.27bslash6.com
www.blog.drawn.ca


Communication Arts Magazine
Austere Magazine
THRWD Magazine

An Artist In Need

Hello all. One of our fellow Dallas artists is experiencing severe medical issues and really needs some help. If you're able to donate anything, even a small amount, you'd be helping her out a lot. You can donate to her by visiting this link: http://www.gofundme.com/2im5r0.

If you're uncomfortable simply donating and would like something in return for your money she is happy filling commissions and has some paintings available for sale on her Web site: www.tigerbeearts.com.

The Pain of a Personal Biography

One rough patch most artists hit during the development of their careers is the need to present certain unpleasant documents: the C.V., the Biography, the Artist's Statement. These demons can be mountains of procrastination and lost sleep until they're properly tamed. The best way to do that: just sit the fuck down and start writing. It may come in raspy spurts, it may flow like a blood letting; either way, it needs to be done and you as an artist need to inure yourself to the pain and just do it.

Below follow some basic pointers (jacked from other Web sites) for writing a biography that is useful and doesn't suck.

Gleaned this from the BrandYourself Blog:

1. Make three versions: short, medium and long. Most of the time, someone else will dictate the length of your bio. They will likely tell you how many words you can use to ensure that yours is the same length as other bios. Because of this, one bio will not do. You need three bios:

• One sentence bio
• 100 word bio
• 250 word bio

Each bio has its place. You will save you time and energy when the time comes time to post it, and establish consistency between every professional bio about you that is published.

2. Introduce yourself as if you’re meeting a stranger. Lead in with your name. People need to know who you are before they hear what you’re all about.

3. Immediately state what you do. If you are “Portrait Photographer,” don’t wait until the last moment to say it. Your most important details should go in the first sentence. Remember: people on the web rarely read more than the first and last sentence.

4. Touch upon your most important accomplishments. Don’t list them, and make sure they fit. A bio is not a resume; it is simply a quick summary of who you are. If you have space, mention them. If not, ignore them.

5. Include your contact information. You should have a line in your bio that makes it easy for people to contact you. Stick to the norm and put your contact info in the last sentence.

6. Talk in the third person. Since your bio is something other people use to describe you, make it sound like someone else is talking about you. Good: “John Doe is a portrait photographer with six years of hands-on experience working with clients… etc.” Bad: “I am a portrait photographer… etc.”

7. Get feedback from a friend. A great way to test your bio is to have someone else read it. Ask for their feedback. Does it accurately state who you are and what you do? If after reading your bio they still don’t understand what value you provide, revise it until they do.

8. Keep it up to date. You’re constantly moving forward in your career, and your bio should reflect that. Never send out your bio if it still says you work for a former employer.

I snagged this from CopyLicious:

• Set a timer for 26 minutes. This is very important. Do not skip this step! If you’re a Level-9 Procrastinator like me, you’ll never start this exercise if you don’t give yourself permission to do it quickly. This doesn’t have to become a 3-hour, story-of-my-life writing intervention. (Unless you want it to.)

• Answer the questions in a rambling, conversational style. You might even write them in the body of an email you pretend to send to a friend. Don’t worry about perfect sentences. This exercise is not designed to help you craft your bio. It’s simply to help you dig up all the good, fresh stuff buried in your brain, which you can then use to craft your bio. If you hate writing and are better at thinking on your feet, then speak your answers into a recorder or iPhone and transcribe them.

• Let your answers sit for a while. Then bold the answers that seem interesting, unexpected, insightful, profound, or just plain feel like you.

16 Questions to Help You Write Your Bio

1. How did you arrive at running this business? What path brought you here?
2. What are you known for professionally? What do you have a knack for?
3. What’s the one problem you are best at solving for your clients? What do your ideal clients say about you?
4. Who have you worked with in the past? And what have you done for them?
5. What are you most passionate about professionally? What most excites you about your work & the contribution you can make?
6. What are you passionate about personally? What do you really enjoy? What can’t you stop talking about?
7. Where can we find you when you’re not working? What’s your favorite way to spend a weekend or a Sunday afternoon?
8. How long have you been doing what you do?
9. Where did you grow up and why aren’t you there now?
10. Any volunteer activities you’re crazy about?
11. Any nonprofits you love, & why?
12. Any awards or medals, or even medallions? Personal okay, too.
13. What would be impossible for you to give up?
14. Why would someone not want to work with you?
15. How do you want to be remembered?
16. Anything else you’d like to tell people about yourself?

Solid advice. Solid advice I very well might follow!

Personally, when I'm stuck on something I turn to my fellow artists and my favorite authors and take note of how they compose their biographies, what points they address, which phrases I think are particularly eloquently constructed and look for ways to incorporate the same greatness in my writing. I find that letting examples of strong writing saturate my thoughts allows me to write much more easily. Whether I'm successful or not at writing a kick-ass pro-sounding biography has yet to be determined, but everyone has to start somewhere, right?

What inspires you to write? Where do you turn when the words just aren't working?