An art exercise with pine needles


Ken: So, I’ve been thinking here we are on the afternoon of the 11th, and I think we need to stir things up a bit because nobody’s feeling anything. [Laughter] It’s absolutely essential that you go away feeling that you came in touch with something, otherwise you won’t feel you got your money’s worth, will you? So you all have your pine needles? Good.

Okay, so here’s the deal. This is about the inner artist. What’s the problem Pat? [Unclear] Well, the thing about bringing out the inner artist is that you have to use a medium in which there are very, very few possibilities. Because if there are many, then you have to know the range of possibilities and the techniques and how to bring them out, etc., etc. But if you use a medium in which there are very, very few possibilities, then everybody is artistic.

You know, because there’s only so much you can do. So we’re at Mount Baldy, the medium is pine needles. So you’re going to arrange the pine needles into some kind of aesthetic arrangement that can be symbolic, that can be autobiographical. [Laughter] Most art is. You know, whatever way you want. The only thing I would ask is please don’t break the pine needles otherwise we’re going to have a hell of a time clearing everything up. So a very restricted medium.

However, you’re not going to do this alone. No art, no work of art is complete without a critic. [Laughter] And you know what critics do? Well, the only way a critic can gain a reputation is by telling the artist what they’re doing wrong. Yes, Stephanie? [Unclear] Okay. So you’re going to have a partner, and your partner is the critic. And the critic is going to tell you at every stage of creation what you’re doing wrong. [Laughter and unclear comments]

Well, we just want to relieve you of that inner burden. So we’re going to put it on the outside. Okay? Now, for those of you who are going to be in the critic role and don’t worry, everybody will get to play both roles, one of the key facets, if you have read any amount of art criticism is that critics are not consistent. So don’t worry about being consistent. Do be critical. Warming up to this are we, Betty? Yeah, I saw that. It will be interesting to see when she’s being the artist though. Okay. Now we won’t do this for too long. Now as the artist, you’re extremely sensitive to criticism, because you know that the only way you can be successful is to do exactly what the critic says. Yes, Stephanie? So when you’re the artist arranging your pine needles, whatever the critic says, you do. Those are the rules. Okay?

Student: So, do you mean as the critic, we actually have to tell them what to do?

Ken: Yes. You tell them what they’re doing wrong. “No, that’s not alignment. Those aren’t aligned. Align them perfectly. Oh, that’s completely boring. Create some tension.” Get the picture?

Student: So, the artist starts it and then starts to do something, and the critic is right there from the gate?

Ken: The artist’s got to come up with the creation first and then the critic kind of jumps in. Isn’t that what happens?

Student: How critical are we supposed to be?

Ken: How critical can you be?

Student: I thought the artist was working while being criticized. That’s the case? It’s not that the art is created first.

Ken: Well, the artist is going to start at first, but how long does it take for the critics to jump in?

Student: They don’t get there until the gallery showing usually.

Ken: Well, I don’t know!

Student: It’s a work in progress.

Ken: It’s a work in progress. Okay.

Pat: So how far do we go? What’s the result?

Ken: You’re to stop short of murder. And grievous bodily harm.

Sophie: Does the artist say anything back or are you just having to hear it and operate on that?

Ken: How fruitful is it to argue with a critic?

Sophie: I think if you explain your perspective, they might see where you’re going. [Laughter]

Ken: For those of you who don’t know, Jeff used to run a dance group, so he has firsthand experience. Do you want to say a word about that?

Jeff: Yeah, I’ve managed to get some astonishingly, personally vicious reviews and some people who appreciated the work wrote— in one situation I can think of—responses to the critic. She was a good writer in her own vicious way. And she just came back with another vicious diatribe. It was really interesting. You don’t talk to critics because that’s their language. You just fall into their frame. You’re stuck.

Student: [Unclear]

Ken: Well, that’s how many artists see them, yes,

Jeff: I agree, yeah. [Laughter]

Ken: Okay. So pair up and decide who’s going to be the artist and who’s going to be the critic. Pair with somebody that you haven’t paired with. [Chatter] Oh, please keep the talking to a minimum. I didn’t bring the bell. Pair up with someone you have not paired with before.