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Tools, Techniques, and Ideas to Help Any Artist Teach

3 c r e a t i n g a r t i s t s Our work can go where we cannot go. —-       Although supposedly about art, the examination of reputation often fo- cuses onwhat is done to and for artists. The artist serves the same role as a patient in a clinical lecture in medi- cal school—not exactly a cadaver, but equally mute. Yet workers of all kinds have their own active social worlds in which they contribute to their own identity. If artists do not have full con- trol of their lives and their social posi- tions, they do have some

The Artist- Character 1985 In this text, Kabakov investigates one of his most fertile and long- running areas of interest: the relation between art- making and role- playing. Ruminations on perfor- mance, acting, and impersonation have appeared repeatedly throughout his career, not surprising given the bifurcated nature of his position as an unoffi cial artist and offi cial illustrator. Kabakov has stated more than once that he views himself not so much as a “real person,” but as a character. Here he attempts to articulate the artistic and psychological

87 4 The Artist On one of the walls of Jamaica Street studios in Bristol, some-one has painted a quote by the sculptor and installation artist Cornelia Parker: ‘There’s such a freedom about being an artist.’ Clearly the idea resonates with many of the three dozen or so people who create their work in the studios. It also resonates more widely. Creative expression is one of the paradigms of human freedom. Yet strangely enough, when discussing freedom, scientists and philoso- phers usually talk instead about people’s choice of hot beverage, or decisions to press

THE RETOUCHING ARTIST I N A DAR K STU D I 0, between presses and drafting tables, among her brushes, her inks, her pencils, her pastels, and her small bottles of chemicals, whose composition she re- fuses to reveal, the retouching artist is bent over a map of the world. One day, a photographer comes to her with a group of prints for an exhibition, whose negatives have been slightly scratched. The model has freckles over her entire body. When he goes back for the prints, the photographer can no longer see the small white scar that bothered him, but the

traced the metaphysical impulse back to Schopenhauer and Nietzsche, who liberated art from the bonds imposed by such rationalists as Voltaire, “the horrible philoso- 5 The Artists Giorgio de Chirico The Artists 147 phizer of Ferney,” by suppressing the sense of logic in art. “We metaphysicists have sanctified reality” (273). He takes pains to distinguish his art from that of the French Cubists and Italian Futurists. His opponents, he notes, have sought to discredit the la- bel “metaphysical,” which was first applied to his paintings several years earlier while he

11 O n e May the Artist Live? In October 1933, just seven months after FDR’s initial in- auguration, Audrey McMahon, the director of the College Art Association, entitled an article she published in the as- sociation’s journal “May the Artist Live?”1 McMahon had spent considerable time mulling over this question. Begin- ning with the stock crash in 1929, the association she di- rected had become the first stomping ground for indigent artists.2 On the basis of her experiences, she attested that New York housed about eight thousand needy artists, and she

2 Making the Artist Loft Stephen Antonakos moved with his family from Greece to the United States in 1930. After a stint in the armed services during World War II, he stud- ied art at Brooklyn Community College and eventually rented a studio on Twenty- ninth Street in New York City’s Fur District, beginning a career in painting and sculpture that continued up to his death in 2013. In 1963, An- tonakos sought out a larger space and ended up renting a loft on SoHo’s Greene Street, signing a lease for $200 per month. The building was a fourth- fl oor walk- up

THE TEACHING ARTIST Handbook Series is about presenting ideas, mod- els and experiences that we hope will be useful to you as you create original teaching artist work that flows from your unique expertise, interests, and ques- tions as an artist and as a person. This series is not about presenting a specific approach to, or methodology of, teaching artist work. If teaching artist work is but a dimension of arts practice, then it should be as inventive and idiosyn- cratic as art-making. Just as art compels us in its combination of what is spe- cific to one