New York Studio Conversations - Seventeen Women Talk About Art

NEW YORK STUDIO CONVERSATIONS - SEVENTEEN WOMEN TALK ABOUT ART
by Stephanie Buhmann

DISCUSSION QUESTIONS

1.  On page 5, Buhmann states that, "It is in the artist's studio that one can directly discuss the embedded thought process and sense the mystique of the creative process devoid of outside manipulation."  Do you agree with this stateent?  What are the benefits to discussing art in various settings?

2.  Lisa Ruyter draws a correlation between a producer and curator.  What is the difference?

3.  On page 21, Kiki Smith makes a clear differentiation between her artwork and functional objects that she makes (such as a doll).  Why does she not consider the doll a work of art?  Who decides what is or is not a work of art?

4.  Ursula von Rydingsvard said, "I like the idea of making art, where you can't point to the time it was made or to a particular style" (p. 41).  Can you think of other artists whose work can be classified this way?

5.  Buhmann tells Kate Shepherd, "I would imagie that it takes a lot of confidence in your unique voice to embark on a major departure right after a show" (p. 57).  What are some pros and cons of an artist expanding his or her repertoire?

6.  Do you believe that there is abstract color or that all color is rooted in nature (p. 58)?

7.  Tara Geer states that, "In drawing, there's this tendency to show your skills, proving that you can do illusionistic work" (p. 66).  Do you agree with this statement?  Are there other areas of art where technical skill is prized above innovation?  How important do you think it is for artists to be trained technically?

8.  Conversely, Kathy Butterly says that she "embraces" flaws (p. 107). Do you think there is a certain importance or realistic quality to artwork that reflects the hand of the artist?

9.  List some common themes present throughout the interviews and discuss why these issues arose in multiple conversations.

10.  Leslie Wayne says that, "Paint is simply another material in which to construct an image.  It happens to be made on a flat surface, but it's a construction material nonetheless" (p. 126).  What is the difference between sculpture and painting?  Share examples of artists whose work could be classified as both.

11.  Jacqueline Gourevitch says that, "Ultimately, paintings can lead us to see more" (p. 158).  What does she mean by this statement?