January-23-2014 by Tania Dibbs
Reading art writing requires an extra cup of coffee for me to be able to stomach. I can more easily plow through a scientific abstract than smoothly digest art writing, which takes the simplest ideas and strives to make them as complicated, vague and important as possible. I feel oddly guilty about this because I love art, I love exploring ideas, I love to learn, I am not intimidated by difficult text and art is my chosen field. Yet when I want to wind down with an article at the end of the day, art writing is not my choice. I fail to buy it, and get distracted and exhausted by my own judging and eye rolling when I notice the effort that the writer took to make a simple idea seem lofty or ambiguous. On many occasions I am bewildered by the first or second reading of a sentence. Art writing is the frame taking over the painting. Here are the types words that are favorites in the field: polymath, normative, palimpsest, transversal, polemic, zeitgeist, ziggurat, semiotic, polemic, etc. Sure, there are uses for them, but sometimes I feel like yelling, “Stop trying so hard! It’s just art!” Here is an example of some drivel from a Whitney Biennial catalogue as noted in the blog of artist and critic Carol Diehl:
“Bove’s ‘settings’ draw on the style, and substance, of certain time-specific materials to resuscitate their referential possibilities, to pull them out of historical stasis and return them to active symbolic duty, where new adjacencies might reactivate latent meanings.”
January-07-2014 by Tania Dibbs
I was driving by the frozen river on a winding road on my way to cross country ski with my dogs last Sunday. The sun was shining and flakes of snow were falling off of the trees and catching the sunlight. Some high, echoing piano notes were repeating on the radio. I used the Shazam app on my iPhone to find that the song was “Wash.” by Bon Iver. The notes sounded poignant and lilting and like a memory. They sounded to me like light green, and the sound matched the feeling of the flakes of snow catching the sun, and described the heartache of loss. I knew then exactly where to go with the canvas that had been sitting unfinished in my studio. Read more
November-07-2013 by Tania Dibbs
How do you know when to stop working on a piece? Sometimes it is obvious, like when the thing you are going for has been achieved. Sometimes it is open to interpretation. Then you just have to live with the piece awhile to see if the need for more work becomes apparent or not. Other times you just don’t have a choice but to go past the end point.
August-29-2013 by Tania Dibbs
After years of landscape painting I began to realize that scenery was not so interesting to me as the fundamental biology behind the scene and our pervasive role in the system represented. I am fascinated by human progress, by the effects of human advancement and by the complicated interrelationships of those effects. Read more
June-01-2013 by Tania Dibbs
Shortly after composing my last artist statement, I came upon this podcast while listening to old episodes of my favorite audio show, Radiolab. The show fascinated and stunned me, because it so very much provided a clear and timely example of the very complex relationship I have been exploring between humanity, earth, intention, and consequences. As I listened to it in my studio I actually got goose bumps on my arms. If you take a few minutes to hear the segment you will have a clear understanding of my current 2013 work. Read more
May-19-2013 by Tania Dibbs
A couple of weeks ago we returned from a trip to South America with the Aspen Art Museum. Sixteen people and Heidi Zuckerman Jacobson, the director of the AAM, went to private collections, artist studios, museums and galleries. Here are some of the things that surprised me.
March-31-2013 by Tania Dibbs
Our relationship to the world we live in has changed exponentially and rapidly. Nature, once bigger than humanity, is now a tool, a resource, an infected organism and a fragmented system. Buy it, sell it, use it. We alter genetic codes, shape the climate, patent genes, change the course of evolution and create artificial life. We wipe out entire species and ecosystems and turn the ramifications into political arguments. Basically, we shit where we eat. The idea of “nature” as a broad, controlling and creative force in the universe seems quaint and secondary. To contemplate nature in this era is to examine its qualities and possibilities: its patterns and symmetry, its randomness, fragility, and interconnectedness, its unavoidability, its potential. Read more
February-27-2013 by Tania Dibbs
I have been searching, groping, questioning, and it doesn’t feel good. Growth never feels great.
January-19-2013 by Tania Dibbs
I can’t tell you how many times people tell me, “I LOVE your old work!” Sometimes I wish I still loved doing what I used to do, but I don’t, and here is why. Read more
December-30-2012 by Tania Dibbs
Whatever your endeavor, it is important to expose yourself to critique, and equally important to learn how to handle it. Learning to be critiqued and not feel stung is a very powerful tool that can be honed with practice. Practice can slowly trickle in over the course of a career (I could wallpaper a whole house with the rejection letters I have received) or you can actively seek it out to speed up your learning process. Read more