{"id":513,"date":"2015-04-02T18:22:58","date_gmt":"2015-04-02T18:22:58","guid":{"rendered":"http:\/\/www.elizabethfram.com\/Blog\/?p=513"},"modified":"2015-04-02T18:22:58","modified_gmt":"2015-04-02T18:22:58","slug":"a-top-ten-for-all-of-us","status":"publish","type":"post","link":"https:\/\/www.elizabethfram.com\/Blog\/a-top-ten-for-all-of-us\/","title":{"rendered":"A “Top Ten” for All of Us"},"content":{"rendered":"

In my reading this week, I ran across what amounts to a “top ten” list of ideas for artists that I think merits sharing. I hope you will agree.<\/p>\n

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TERESITA FERN\u00c1NDEZ:\u00a0 Fire<\/strong>, 2005 silk yarn, steel armature, epoxy 96 x 144 diameter inches 243.8 x 365.8 cm In collaboration with The Fabric Workshop and Museum, Philadelphia Collection San Francisco Museum of Art<\/p><\/div>\n

Offered as the concluding advice in sculptor Teresita Fern\u00e1ndez’s 2013 commencement address to the graduates of Virginia Commonwealth University’s School of the Arts (her alma mater), she speaks from a place of humble accord with the young artists she is addressing. Eschewing the usual platitudes often shared at such an occasion, Ms. Fern\u00e1ndez instead acknowledges, among other\u00a0 lessons, the power of failed attempts and useless knowledge.\u00a0 She elaborates on the distinction between the inside and the outside of success in a way we can all appreciate and understand, underlining that being an artist stretches beyond what is accomplished in the studio; all facets of one’s life will be reflected in the resulting art.<\/p>\n

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TERESITA FERN\u00c1NDEZ:\u00a0 Night Writing (Hero and Leander)<\/strong>, 2011 colored and shaped paper pulp with ink jet assembled with mirror 49.21 x 66.14 inches (work), 125 x 168 cm 55.25 x 72.25 x 2.75 inches (framed), 140.3 x 183.5 x 7 cm Edition of 1 In collaboration with Singapore Tyler Print Institute<\/p><\/div>\n

For me, the most appealing aspect of this list is that it’s not just for those who are starting their career; it is fully applicable regardless of how long you have been at it, your age, your level of success, or your geographical location. I truly appreciate how “down to earth” these maxims are, reflecting the humble and inclusive nature of Ms. Fern\u00e1ndez’s approach, in spite of her vast accomplishments and the prestigious awards she has received. What a breath of fresh air!<\/p>\n

If you’re interested in reading the full address “On amnesia, broken pottery and the inside of a form” click here<\/a>.\u00a0 It’s well-worth your time.<\/p>\n

But for now, here is her list of 10 practical nuggets that have assisted her, and will hopefully benefit the rest of us as well. I have my favorites that will be tacked to the wall of my studio, I wonder which of these will resonate with you.<\/p>\n

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TERESITA FERN\u00c1NDEZ: \u00a0 Ink Sky 2 (detail)<\/strong>, 2011 anodized aluminum black mirror, hooks, rhodium plated chains, galena rocks 34 x 96 x 132 inches 86.4 x 243.8 x 335.3 cm Edition of 2<\/p><\/div>\n

1. Art requires time, there\u2019s a reason it\u2019s called a studio practice. Contrary to popular belief moving to Bushwick, Brooklyn this summer does not make you an artist. If in order to do this you have to share a space with five roommates and wait on tables, you will probably not make much art. What worked for me was spending five years building a body of work in a city where it was cheapest for me to live, and that allowed me the precious time and space I needed after grad school.<\/p>\n

2. Learn to write well and get into the habit of systematically applying for every grant you can find. If you don\u2019t get it, keep applying. I lived from grant money for four years when I first graduated.<\/p>\n

3. Nobody reads artist\u2019s statements. Learn to tell an interesting story about your work that people can relate to on a personal level.<\/p>\n

4. Not every project will survive. Purge regularly, destroying is intimately connected to creating. This will save you time.<\/p>\n

5. Edit privately. As much as I believe in stumbling, I also think nobody else needs to watch you do it.<\/p>\n

6. When people say your work is good do two things. First, don\u2019t believe them. Second, ask them WHY? If they can convince you of why they think your work is good, accept the compliment. If they can\u2019t convince you (and most people can\u2019t) dismiss it as superficial and recognize that most bad consensus is made by people simply repeating that they \u201clike\u201d something.<\/p>\n

7. Don\u2019t ever feel like you have to give anything up in order to be an artist\u2026 I had babies and made art and traveled and still have a million things I\u2019d like to do.<\/p>\n

8. You don\u2019t need a lot of friends or curators or patrons or a huge following, just a few that really believe in you.<\/p>\n

9. Remind yourself to be gracious to everyone, whether they can help you or not. It will draw people to you over and over again and help build trust in professional relationships.<\/p>\n

10. And lastly, when other things in life get tough, when you\u2019re going through family troubles, when you\u2019re heartbroken, when you\u2019re frustrated with money problems, focus on your work. It has saved me through every single difficult thing I have ever had to do, like a scaffolding that goes far beyond any traditional notions of a career.<\/p>\n

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TERESITA FERN\u00c1NDEZ: Night Writing Installation view<\/strong>, Lehmann Maupin Gallery, 201 Chrystie Street September 12 – October 20, 2012<\/p><\/div>\n

\u00a0Further info:<\/strong><\/p>\n