Sunday, January 27, 2013
chapter 1, Makers
This is the main post where your responses to chapter 1 of the Makers belongs. Remember your thoughts, questions, outside knowledge is welcomed. The hope is that we each begin to see and experience craft in the fullest sense in a new way. Do not hesitate if something is confusing or if you disagree. This is a semester long dialog.
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Makers - Chapter One:
ReplyDeleteWhat surprised you?
When I reflect on the “consequences of industrialization and urbanization of Victorian England” complicated by the lack of social services for the many workers coming to cities in England, I feel there are similarities to consequences of technology being felt in all countries today. This surprised me as in some ways things haven’t improved as much as I expected. In countries with high poverty rates the industrialization seems to be happening in similar ways to Victorian England. This would include people migrating to the city in hopes of finding work and more opportunities in factories and other manual labor. Recent memories of nightly news articles on Bombay and cities in China where competition for the factory jobs is intense come to mind.
This subject has interested me and as a librarian I ordered a novel about this, written for elementary & Jr. High students, (4th-7th graders) called Silk Umbrellas by Carolyn Marsden.
It is about a young girl in Thailand who wants to paint umbrellas like her grandmother, but with money tight and a radio factory hiring children things might not work out like the character hopes, especially when her sister is made to work at the factory to help the family. Time for traditional crafts take a back seat now in many countries when more or quicker money can be made.
Companies like World Market, Pier One, even IKEA have made useful and decorative items from different cultures available less expensively but not necessarily of the best quality, as price rules. In many countries including the USA at the turn of the century, part of the growing pains of a country has been loss of certain craft skills for a time before they are appreciated and needed again. Even now there seems to be a new interest in crafats like marbling of papers. I know that in the 1990's is was hard to find a class on skill.
The social cost to society now and in the past has been harsh including such things as child labor. I feel we are still adapting to a technology revolution as a nation. We learn new skills to support our families and make decisions as to what we are willing to spend money on other than food, shelter and clothes. It is of course true that it is usually the upper classes that can make choices to spend money on art.
What impressed you?
I think it impressed me most how some of the artisans were so socially aware. I don’t believe that it is necessary to be that way to be an artist but I do that feel artists reflect their situations. For women to be so aware is impressive especially in the 19th and early 20th century. Candace Wheeler was interesting as someone who created something we might now call Fair Trade by creating The New York Society of Decorative Arts (SDA) so women and men could sell their creations to the public. The text mentioned how Wheeler and Tiffany as well were masters of promotion. The SDA had a school, a library and a network of people to help with funds. The mention of craft as “psychological” as well as social was impressive to me.
What are you carrying away with you?
Starting with Pugin, Ruskin and Morris there was great passion involved in the craft movement. The strong commitment to society and art was exemplified by Morris who felt “I do not want art for a few, any more than education for a few, or freedom for a few” and he found the middle class was the one to support this.
I was also interested in the persistence of the women like Louise McLaughlin who experimented with glazes and created glazes like Losanti. It seems she and other crafts people worked until they ran out of money or until they found patrons. This dedication to art was found in many in the “roots of studio craft”.
I think it's interesting that you brought up the point of stores like IKEA selling items at lower prices but sometimes most people won't pay an artist for one of their works. I've had people show me commercial pieces and ask me if I can make them one like that. (Well, that's made by a machine, and I'm not a machine! Haha!) This chapter also raised the question of what's most important, price or uniqueness?
DeleteYour post made me think a bit about whether the current resurgence of the craft movement has anything to do with economics. An overwhelming amount of my students might be categorized in Victorian terms, as the "idle rich." I'm curious how many of the artisan women of that time were part of this group?
DeleteWhen talking about the mass production in China and so forth, its mind-boggling to think how much of our, (USA) merchandise is produced in China and I’m sure other countries as well. If we were to stop that and go back to pure handmade craftsmanship, what would that do to the economy and industrialization through out the world, not just China. It is scary to think about the unemployment rate dropping, since I’m sure a huge percentage of jobs are in factories in China. Then the big stores like World Market and IKEA would shut down probably. It is intense to think how much industrialization runs our economy. To go along with Rebecca’s comment, I am sure copies of course are in demand, more than the original painting, for example. Every time I read a fashion article, Louie Vuitton is suing someone new for making fake Louie Vuitton’s. Our society wants the handmade craftsman ship but doesn’t want the price it comes with. I think if copies were made of Morris Co. furniture back in the 19th century, with out his consent, he wouldn’t be saying, art belongs to everyone, rich or poor….
DeleteGood beginning responses. As for products made elsewhere, look elsewhere and think of how many products or foods are influenced by American products or popularity. In place of generalizations think in terms of your life and how you respond to objects/products and materials from else where.
DeleteMartha,
DeleteIt is sad that ones hertiage and culture should be lost for advancement. I saw a website call the Artisians World Market Place. It is a website where artist from all over the world. The Fair trade uplifts and empowers traditional culture while generating significant income and educational opportunities for disadvantaged communities.
I am having some technical issues but can post my response as a 'Post' so I am going to put it out of this stream until I can figure out how to get at least a bit of it here.
ReplyDeleteWhat I found most interesting throughout the reading of this chapter was how most of the pottery, painting, (etc.) guilds began by artists/craftsmen coming together. I couldn't help but smile when I saw Lynn's post inviting us to come to her studio and see her work and make our own work there too. I immediately thought, "This is how the book describes guilds." It was interesting to put that into perspective in our lives today. I believe as artists we are constantly accepting of other artists' works and ideas by visiting art exhibits, museums, or just by socializing with others. Another example is this program. We are interacting as students, artists, and intellectuals and will work together in Junction. Although, we each come from different artistic backgrounds, places, undergraduate degrees, professional backgrounds, we are coming together as artists and working together towards a common goal. The book states that this was one of the driving forces for Morris and I couldn't help but relate.
ReplyDeleteI also thought about how I can translate this to my students. I constantly hear "I'm not an "artist" so I can't do this project." This first chapter states that "most workers could not be artists but could create something of value" by working on crafts that allowed them to use their creativity and have control of it. This is something that I constantly reiterate to my students. I spoke to my older students about me going back to school because Art is something that is constantly evolving and you never stop learning from it. I will definitely include these points on my next lesson to show students how even men and women back then used their individual creativity to create works that are still meaningful today.
One of my mentors, a man who really shaped my attitude about art, Luis Sanchez Valderama, said "Art is in the mind, everything else is handwork." If we are thinking, using our mind, and creating, we are artists, all of us.
DeleteI'm going to have to steal that quote!!!
DeleteRebeca, I also loved that quote too. It made me think that our society still separates art and craft obviously. If you were to tell someone we are doing a craft project most or all of the population would be willing to participate. However, if you were to say, lets do an art project or a painting, I think most would feel intimidated and stray away with fear. Craft is amazing, like described in chapter 1, you don’t have to be certified to be a craftsman... like you do, for example an interior designer. Even nowadays most companies wont hire you as a fashion designer without education. Its rare to get hired with only experience, unless its 10 years with top notch credentials.
DeleteInteresting observation on friendships and collaboration. For those of you who are teachers think upon the rules for VASE that do not honor collaborative projects. Or many works of art from Native cultures that work as families. What is the importance of a name or a mythical solo effor?
DeleteRebecca-
DeleteThe idea of letting the craftsmen have some control of their product is so important. As artists sometimes the hardest thing to do is take responsibility/action in your art and make choices for that personal "control . I was reflecting on when I taught elementary art students (just for a few years). I realized after the first semester I was uncomfortable with the students products, not because of their work, but because I was teaching them a class for example maybe highlighting Van Gogh's Starry night and letting them experiment but they wanted to replicate - as they saw the sample as the right solution. As a beginning teacher it took time for me to see I was not giving the "students" control. Now when I work with children my goal is to be more about the materials and let them take care of their own creation, while also including some art history. I think what bothered me was that I would get children's art work that looked very similar as I was unconsciously "directing" the product. It all looked great in the school hallway but was not reflective of the students themselves.
So true, Martha. I struggle with this too sometimes. I try to do as many projects as I can where they can use their own sketches or drawings they've made at home. If you have any ideas or advice from your own teaching experience, I'd appreciate your input!
DeleteWhat surprised me the most when I started reading “Chapter 1 The Roots Of Studio Craft” was the amount of information it provided. Honestly, I can’t believe how much I learned in just chapter 1! I had never initially thought how craft became “craft” until I started reading Makers. There is so much more philosophy behind it than I could have ever imagined. I guess I had always assumed craft was more of a hobby…creating something artistic on your own personal time and not for a profession. Now that I am seeing a new light on craft it makes me excited because I feel as an artist, most of my talent lies within the “craft” boundaries.
ReplyDeleteWhat was interesting to me was how right off in the beginning of reading, “The Origin of Arts and Crafts”, Koplos/Metcalf quoted Pugin, Ruskin, and Morris, “insisted that design is not just an aesthetic enterprise but is inextricably connected to social conditions”, (pp.2). I love that these three writers saw something more to design than it being pleasing aesthetic to the eye. I can definitely see how their interest could affect social conditions. With all three hating rapid industrialization…just think, if the assembly line wasn’t, “thought of” then mass production of the same cookie cutter car would have probably lowered pollution levels par say. Yes, the invention of the assembly line has helped a lot of other merchandise that needed to be mass produce, but with craft or the unique design of an automobile, I think it hurt it a little. “In craft, variation is not only possible; it is almost unavoidable. It is more difficult to make two identical objects by hand than to make two different ones”, (pp. 5). I love this quote because I think it sets craft apart for once, with the same importance as any kind of art or design. I think in order to make craft you not only have to have an imagination but you also have to be an inventor as well. During my undergrad years I took a ceramics course when I was studying abroad in Italy, and our professor had us all make the same design with the same technique, and it was amazing how different they all turned out. I would have never associated that with craft back then, but now, I am starting to realize after reading Makers, that it was craft.
Brea- I totally agree with you about the load of information in chapter one and learning so much! I found it interesting about finding out what a craft is and where it came from. To me when I think "craft" , I think glue and paste.
DeleteConsider a few thoughts... how much do you write about art? Think about the themes/motivations/philosophies behind your art? Do you read about art? To you argue about art?
DeleteLearning about Guilds was very intriguing. Even though Guilds are medieval connotations, I still feel they rule Italy…or definitely Florence. I think that is why I am so attracted to the country. Nothing is alike there. Every object has its own personality. If you wanted to buy a pencil you would have to find a pencil store and another store for the eraser. It can be a time consuming pain to shop, but the craftsmanship in each item is priceless. It is really exciting to me personally that pieces of furniture were first regarded as examples of Arts and Crafts since I am obsessed with reupholstery. “The uniqueness of handmade goods can be attractive to customers who seek to distinguish themselves by decorating their homes (or themselves) with objects that are unobtainable by the masses”, (pp. 7). This quote signifies the type of person I am. Even though it is easier for mass production and can be cheaper at times…I love that craft turns something into an heirloom, even if it ‘s just a homemade card. I believe that is the service the Morris Co.’s wanted to give to their clients.
ReplyDeleteOne of the other aspects to craft that interested me was the amount of women that consumed this lifestyle. I believe craft helped open doors for women. Not just personally by creating something, but monumentally with women affairs. “The women discovered that the practice of craft contributed significantly to their quality of life, which distinguished studio craft from trade”. (pp. 16). I think for the first time women, “that normally are house wives”, felt exuberated and worthy of something. For a long period women started dominating the craft society, from textiles, china painting and art pottery. As a woman, It was empowering for me to read.
Stained glass was very interesting to me because it is something I have always loved but knew little about. I loved reading how stain glass made its way into religion. Nowadays almost every church you walk into has stain glass windows. I always thought it started with religious icons instead of landscapes. I also assumed that stain glass had leaded segments in it. It was stimulating to me to know that La Farge was the one who invented it.
Other than what I mentioned above, the main aspect I am taking away with me, is that there is this whole new meaning to the word, “craft”. I will never look at it the same. I discovered a lot of traits of myself within the term craft and it makes me happy to know these are true talents and not just other meaningless hobbies of my own.
Brea, I agree with you making the point that women had a great role in the Arts and Craft movement. One of the things that stuck with me the most while reading this first chapter was how Crafts were universal throughout social classes or gender. Morris even took up embroidery which was considered "unsuitable" for men. I found it inspiring that the craftsmen mentioned in this chapter overcame those obstacles and "did their thing." Now we have them to thank for paving the way for us today.
DeleteI am going to apologize upfront for how much I love art history--
DeleteHere is a fun way to look at the guild system and actually how the restructuring of the guilds help lead to the Renaissance. If I am remembering correctly (everything in my blog I triple checked this is off the cuff) In the Middle Ages, artists were put in the guild governed by Mercury because they were busy little makers of things--industrious and productive. With some restructuring, the guild powers moved artist to the guild of St Luke, under Saturn-- (how we have the saturnine personality) but it was also the guild which included doctors--medicis. Patrons and artists together--sunny outlook for art. I am pretty sure this is from a book called Born under Saturn. I will double check.
Actually, Brea, something I've discussed many times with my roommate (someone that enjoys talking about obscure aesthetic issues for 30 min onward), is the contrast between the Catholic (or Old World, European) church and the American, Protestant church and their ornamentation. In our country, especially once we moved westward past the thirteen original colonies, modern Protestant churches began having less ornamentation, i.e. stained glass, et al. I'm sure many factors play into this lack of aesthetic: the cost of constructing large, leaded glass windows, bell towers and panelled sanctuaries; the Protestant emphasis on the intellectual versus the emotive, ritual-based acts of worship; and the proliferation of multitudes of church bodies/denominations. I find it sad that many churches see no issue with this removal of art or attention to the aesthetic because, I believe, as humans we are greatly influenced by our surroundings. Place has a detectable effect on how we perceive our existence, our experience.
DeleteOh cool. Good to know!
DeleteFYI the second largest Rose Window is in Lubbock.
DeleteWhy were/are so few women mentioned in art history unless it is a book on a certain woman? Do you learn about the contributions of women in your art classes that might be considered craft?
I had to post mine into two sections because it was to long. Sorry :)
ReplyDeleteHere is my response without images and in sections- (If you want to see the pictures or read it in one go--its under blog posts
ReplyDeleteIn my personal introduction, I explained how I love how art fits into a time and a community. It is so interesting how cultural and literature, and music, and politics and natural disasters all come together to create art in a particular time period.
Some of this history might be of interest.
Tabloid Art History- the stuff that ties making art to real living breathing people.
I have just given little bits that I think are fun. For example, there is the story of how mathematicians caused the fire that made way for Pugin's Houses of Parliament.
The arts and crafts movement is super influential. To the world of making things, this movement is as big as an explosion of a super volcano. It was felt across the globe. It changed the way things were made. It change how homes looked inside and out. It change what society wanted for the people who make things-fair trade- we hear it still today.
Since this is my first class--I am uncertain if this is correct. But I am sharing things I love, like baby picture, family stories or travel albums.
My response is in little articles with pictures. It starts with what is considered to be one of the first steps that lead to the Industrial Revolution and subsequently the Arts and Crafts Movement and ends with my favorite art pottery.
Change from family crafts to Industrial Revolution.
The beginning of the craft movement:
Melvin Bragg in his 2006 book, Twelve Books that Changed the World, lists the Patent Specifications for Arkwright's Spinning Machine among the 12 most influential books of all time. This 1769 Patent for the first time used power machinery, skilled laborers with new material--cotton. Creating the first modern factory, this ushered in the Industrial Revolution. Arkwright thought the factory town would be kinder. It was a large move
away from the craft of the home--spinning and making garments in the cottage for family use.
This is one of this first shifts away from the family and into the factory.
Pugin and the Gothic or how Mathematicians led to the Burning of Parliament
ReplyDelete
Pugin is best known for designing, along with Sir Charles Barry, the British Houses of Parliament which had been destroyed by the most fantastic fire since London's burning in the 1666. As mathematicians skills improved, the treasury found it no longer needed tally sticks to aid at the counting house. The Treasury stored the disused wooden sticks. A bureaucratic decision had been made to destroy these tally sticks on site rather than distribute the wood to the needy neighborhoods around Westminster. The fire started when a vast collection of disused tally sticks were burned at Westminster. A maid kept warning the workers that the fire was too hot. The bond fire in the chimneys caught the paneling on fire and then Parliament.
Charles Dickens, social reformer and writer was scandalized both by the foolishness in not disrupting the wood to the poor and the cost of Pugin's building.
Not only did the fire, Nero-like make way for new buildings which conveyed the ideas of Pugin, one of the Founders of the Arts and Crafts Movement but it offered Turner a view of the drama and light he loved.
Turner actually got on a boat in the middle of the Thames to paint while London burned. This watercolor was one of the images he painted while watching the buildings burn.
These two paintings, one a studio piece and one a watercolor sketch are by by J. M. W. Turner.
The book focuses mostly on England and America but the Arts and Crafts was really a super Movement.
Arts and Crafts Movement focused on daily life, non traditional craft, ironwork, textiles, murals, mosiacs
In Scotland, Charles Macintosh, architect, worked with his wife, Margaret MacDonald. The Glasgow School of Design was very influential on American Arts and Crafts Frank Lloyd Wright studied
Macintosh's Tea Rooms--his introduction of Japanese design. Macintosh's interest in designing everything that played a part of an environment-from architecture to silverware, influenced Wright.
Meanwhile on the Continent
In Paris, Haussmann designed a new city. While England looks back to the Gothic, He moved Paris from

its medieval warren of tiny winding streets to the modern boulevards painted by the Impressionist. Even Les Halles, the market place that had been functioning
since medieval time, was repurposed. The Metro commissioned entry ways in the art nouveau, arts and craft's baby sister. In Belgium, Victor Horta designed buildings with an organic feel--looking to nature a fundamental of the arts and crafts.
In Vienna,
advocate of the Vienna Secession, Klimt argued for good design and innovative
artists. Like the PRB, Klimt studied craft and work before the Renaissance. He went to Ravenna, one of the four seats of the early Byzantine government to study to mosaics. Later the Wiener Werkstätte, formed a craft guild.
Wow! That's a lot of history, but anytime you mention Frank Lloyd Wright, I'm with ya! I didn't know he was influenced by Macintosh. The Scottish-Irish crafts movement is still alive and kicking today! I'd love to learn more about it someday. I have a friend that worked for Waterford crystal, that is such a sad story about the loss of craft. Although we lost Stueben and it still breaks my heart.
DeleteHow does this history influence your art?
DeleteFor me personally, knowing the background of art/artist, (the types, where they started, how they developed, who invented them), gives me a deep appreciation and respect. For now on I will forever see craft in a new light. For now on every time I make stain glass or paint china, I will always think of the artist we have read about. I will always ask myself if the artist that created this technique would approve of the work I am doing.
DeleteKnowing the history of some of the craft houses makes me much more in touch with the work I do. I think that much of the environment that I've created at the studio is similar to the old collaborative craft studio environments. I love the idea of working as a team to execute a design. The process of making the work, and the joy of the supportive interaction of the team environment, are paramount to me. I get a certain sense of satisfaction that it's similar to the beginnings of the craft movement.
DeleteSince I'm working on this Women's Identity concept right now, I'm pretty influenced by the history of the women's movement. From Suffrage through today, the news and political history really influence my work. I like using vintage images, it keeps me connected to the historical context.
Arts and Crafts and Americans
ReplyDeleteThe 10 o’clock Lecture or The Gentle Art of Making Enemies
Although Ruskin, contributed greatly on the Arts and Crafts in America, In his later years, he began losing his mind.
He attacked American, James Whistler for
"Nocturne in Black and Gold: Falling Rockets" as
an ."The ill-educated conceit of the artist... for flinging a pot of paint in the public's face."
When Whistler sued Ruskin for libel, Ruskin was ill and asked Burne-Jones to represent him in court-- a witness for the defense. Although Burne-Jones was deeply uncomfortable with the attack on
another artist and a new style Burne-Jones appeared in court a debt of years of friendship with Ruskin. This ended the friendship between Ruskin and Burne-Jones. Whistler won a token farthing but sinks into financial ruin. "The 10 o'clock Lecture" documented the experience. Whistler added a stinger to his butterfly signature.
And ironically, Whistler pulled himself out of bankruptcy by doing the engravings for a new addition of "Stones of Venice", Ruskin's book.
Burne-Jones Gets Around
John La Farge, another friend of PRB's Edward Burne-Jones, changes his art each time he meets with Burne-Jones.
Our book mentions H H Richardson's Trinity Church in Boston, as

one of the few extant Aesthetic movement works. It's interior program was done by John La Farge and includes a small stained glass window from Burne-Jones. La Farge won the Legion of Honor in France for his stained glass which was one of the most important prizes in the world. Yes, Tiffany stole La Farge’s process.
Art Pottery--women craftsmen
My last story is more personal and regional.
Women in the Arts and Crafts
There were always women in the Arts and Crafts movement from the
very beginning Dante Gabriel Rossetti AND his sister, poet, Christina
worked to express the ideals of craft. From the PRB's redheads to
designer Margaret MacDonald, women were partners in the Arts and Crafts movement. (Embroidered panels -MacDonald)
Surprisingly, Newcomb pottery is not listed among the American art pottery in this
chapter.
Associated with Newcomb’s women’s college in New Orleans, Newcomb pottery embodies the Arts and Crafts. The pottery program was to
instruct southern women in liberal arts. Just as ancient greek vases have two marks, the “x made this” and the “x painted this”, at Newcomb one artisan threw the pots and someone else decorated it . Women decorated the pottery. Newcomb Pottery looks to nature with very regional motifs: moonlight, Spanish moss, giant oaks. It is highly collectible today. It's my favorite. So I tuck it in as my last image.

Makers
ReplyDeleteChapter 1: The roots of Studio Craft
After reading the words studio craft, i wondered, "What is the difference between crafts and studio craft? " I also thought it was ironic how with the advancement of factories came dull and boring work in factories. It makes since that people were , " reduced to dull and meaningless repetition" working in assembly lines ( p. 1). When the big movement of factories being a supply for work hit people's lives, I find it sad. The conditions they had to work under seems ridiculous. Today there are so many regulations in the work environment. Some of the policies in work today are overly protective sometimes. Although we have these regulations because of some event in the past. It is just hard to fully understand the conditions they had to work under. " The lack of public water supplies or sewer systems resulted in periodic outbreaks of cholera and other diseases. Rivers were little more than open sewers ( p. 1). Today, they're whole committees dedicated to the cleanness of our rivers. It is nice that we do not have to live in those conditions. I also found it interesting that " factory workers needed few skills and could be easily replaced by others" (p. 2). People's skills were being replaced by machines and do most of the work. How could a person do the same exact thing day after day? It appears backwards. The machines should do the dumb- founding work and people should be more involved in the thinking and creativeness. During this time period, it must of been a stressful environment to work in due to the fact that you could be replaced so easily. "De-Skilling" is the opposite direction people need to go to grow and advance in their knowledge. The reasons for inventions or technology is " the ability to improve life" not to destroy it ( p. 3).
When Pugin died and England's theory of design
Either went back to gothic or looked forward to " increase simplicity of decoration", I found it ironic. Even with advancement in people's ideas there are always people that like the change and look forward and there is always pele reluctant to change which is even still a problem today.
I like how perfectionism is referred to as dehumanizing artwork on page 5. I have not thought about beauty in imperfections. This is actually related the differences in drawing a line. When using a ruler and tracing along the edge is not as interesting as the free hand drawn line.
After reading about Ruskin' s theories about economics in crafts, I wondered why we admire him so much for he has done crazy things. Did losing his credibility go through his mind when he participated in such weird acts.
Being an educator and lover of art, I would have to agree with Morris that " art should be distributed across all levels of society, not reserved for the wealthy " (p. 7). However, it does make since that the wealthy could afford to have more art in their homes. Vintage furniture seems to have more thought to the design and appears to take more time to make in the fact that it is made by hand.
"If a man has work to do which he despises, which does not satisfy his natural and rightful desire for pleasure, the greater part of his life must pass unhappily and without self-respect" ( p. 8). I believe that applies even for today. People should pick something that they are interested in to enjoy their job.
Last year we read a book by Claire Campbell Park titled "Creating with Reverence." This book was a survey of different artists and craftsman and their emotional connections to their work. I was really touched by it. There was one chapter about a japanese basket weaver who learned his craft as a small boy and put such reverence and heart into his work that his one of a kind baskets were considered perfection.
Delete"Making a good basket is not a process of thinking about what to do. It's more like a form of prayer. When I'm working, I keep telling myself, 'Do it well, do it well.' I want to make something that will please the person who uses it and suit that person's needs. And I just try to do the work that I can be satisfied with." - Ushi-don , A Basketmaker of Rural Japan (Cort & Nakamura, 1944, 46)
I'm bringing this up because I am an artist, and a craftsman. You can do and be both! I create art works that communicate my message, and I create pieces of craftwork that have a soul. (I make glass vessel baptismal fonts for churches around the country.)
I agree...I think as educators we owe it to our students, and ourselves to awaken our students to the quality, design, and beauty in all things and all levels is achievable and desirable.
I love that the lives studied are complex, adventurous, meandering journeys of real people. Granted most were from privileged lives but in many ways Junction becomes a place of meeting/sharing/exchanging.
DeleteGail, I agree that whatever we do, we should do well, but also we should teach our students to pursue this mantra "do it well, do it well." We learn from mistakes, but only if we are paying attention while we create and reflect back on what we've created. Our activity of making should also be tied into our desire to do our very best at whatever pursuit we're selected.
DeleteMelanie, I completely agree with your last remark. How much more enjoyable is life when one sees the results of hard labor as meaningful and respected? No matter the career selected.
Melanie, I like your analogy for perfectionism is referred to as dehumanizing artwork quote. It makes me think… when it comes to plastic surgery; so many women in our society think plastic surgery will help them obtain perfectly symmetric faces or bodies. When I honestly think, the beauty lies within the natural appearance. But do you think that is dehumanizing? I guess that’s why they call it, “plastic” surgery lol. That was just a random thought I had when I read that quote again…
DeleteEmily/Gail, Amen to “do it well”! I couldn’t agree more. It’s all about positive thinking and believing in oneself! :)
I highlighted the quote on pg. 8 as well. This reminds me of the quote (not sure of the exact wording) that says that if you work at what you love then it's not really work. I think we can all agree that we dont call what we do "work".
DeleteI agree with you on how perfectionism dehumanizes art, for isnt perfectionism something that manufacturing strives for not individual artists. I use to drive myself crazy nit picking my imperfections, but have come to embrace them as part of who I am.
DeleteThe first chapter of this book is loaded with the hard facts, dates, and events that document the beginnings of the American Studio Craft Movement.
ReplyDeleteThere were many surprises for me in this first chapter. Here’s the run down:
• I had heard of William Morris before, but really wasn’t aware of the direct connection he had to the studio craft movement. I knew he was influential in his views, but didn’t realize that his philosophies were the grounding for the development of studio craft. I’d never read about Ruskin, although I’d heard of him before. Pugin’s contribution and ideologies were completely new to me. I love that the chapter showed which studios drew from which philosophies.
• I was very surprised that the role of the newly freed slave population was not discussed. I have trouble believing that there was no involvement in studio craft by this population at this time. Hopefully that will come up in later readings.
• I was also surprised that the women who played such a huge role in developing the studios, guilds, and technical processes, where allowed to do so in an era of unequality. Women didn’t get the vote until 1920, and these women were basically organizing labor and spouting socialist tenants. Today this gals would be vilified for their lefty ways! (Personally…I love a spunky gal!) I wonder what they had to deal with in their personal lives to accomplish what they did. There are always trade offs.
• I was also surprised that the world’s fairs played such a big part in exposing the public to the Aesthetic movement. What would the modern equivalent be? SOFA?
• I’ve always thought of Oscar Wilde as a playwright. I had no idea that he was the “PR Man” for the Aesthetics movement. Who was his patron? How did they benefit from this? I know it sounds jaded…..
What impressed you?
• I was impressed that the Cincinnati, OH region spawned two important studio workshops that launched the studio movement. It seems like the area was teeming with arts and craft activities. Was this due to the availability of resources?
• I was impressed with the community aspect of the early studios. I love the idea of a group of artists working together toward a common goal. The problem with this is that the business side always requires attention, all art and no business makes studios ...close. Just about all the studios discussed closed due to financial pressure.
• I’m also impressed that many of these early artisans works have endured. Just watch any episode of Antiques Roadshow and at least one of the names in this first chapter will be mentioned. That’s quite a legacy that we are talking about their work 150 years later.
What are you carrying away with you?
My take away from this chapter is hunger for more information. I’d like to see more of Pugin’s, Ruskins, and Morris’s personal work. I’d also like to see more of Louise McLaughlin’s and La Farge’s work. I’m also looking forward to seeing how the Aesthetics movement transfers into the Art Nouveau, Deco and Arts and Craft movement and the collaborations with FL Wright, Tiffany, etc.
I need new glasses….
Where is your world's fair? Where do you (as in each of you) go for enrichment, inspiration?
DeleteFuture, in order to feed my work and that of my students' work I regularly attend openings at local galleries and museums. I "allow" myself to attend all sorts of galleries--the whole spectrum of art is open to me, the good, the bad, and the ridiculous-- and I attempt to suspend my judgement until I've immersed myself in the space. For me, seeing the gamut of art makes me appreciate the gems I find that much more and helps me to recall what I've experienced later. I'm also a somewhat obsessive collector of show cards; I put up in my space what particularly strikes me for a time and then save the cards to later look back on. I've done this for about ten years now, so it gets pretty interesting when I rummage back through and find images I've forgotten.
DeleteFuture- I get inspired my students like Emily as well as nature. I love to hike and explore new places. Watching and discussing my students ideas flourish gives me ideas as well. However, sometimes I give them ideas that I would paint myself if I had the chance. But in the end we enjoy the process together ( me and my students). I think our best ideas come from us discussing and sharing with others. It gives us a chance to further develop the idea and bounce ideas off each other. When I go hiking or spend time in the wilderness, I take my camera to capture the feeling I have and anything I see to develop into more of an idea for my work.
DeleteAww Emily, I love that you collect show cards because I do the same approach kind of! When studying apparel design and manufacturing we created story boards and mood bards to gather our inspiration into one setting. I do it with everything now, from art that I love, upholstery techniques and ideas, places I want to travel, and goals for my personal aspirations. I am Catholic and I also collect saint cards and scripture prayers on a board, so every time I see it, I know I am never alone. Emily, you should pull out some old show cards and show them to your students. I am sure they would love it!! I also get a lot of my inspiration from traveling. I LOVE to travel and see how different cultures live and their settings. In Amarillo we have an Art gallery called, “Sunset Center”; it’s kind of an Art block really. They are always showcasing different local artist with many different talents. They have a wine walk night and you can taste different wine and look at all the showcases. It’s everything from leather making and embroidery to painting. To get inspiration for when I paint, I always go through the photos I have of my mom. My mom passed away when I was a senior in high school from cancer. When I paint, my inspiration comes from the emotion I am feeling. Sometimes it is just patterns of movement. My mom also collected sunset pictures too so I love to paint her pictures. I know it’s probably a little odd but I love it and it makes me happy.
DeleteI also am inspired by students, and enjoy contemporary art work in galleries as well as the galleries in museums. The show of ancient work from Mexico, The Legacy of the Plumed Serpent at the DMA was very exciting, as is the permanent collection at the DMA. Overall inspiration comes from many and often the most unlikely sources, reflection of shadows or the texture of a found object that looks strangely like a face. I am also like Brea inspired by my parents. By father was the one who constantly said pursue what you feel strongest about, otherwise if will just take you that much longer to get where you need to be. Wish I had followed his advice earlier. My mother was obsessed with textiles and collected beautiful patterned materials from the many places we traveled as a family with my fathers job. Her materials are the patterns that inspire me add to pictures, and to continue collection.
DeleteI'm finding that my inspirations are evolving. Most times it's conversation with students, friends, and other artists that I find most thought provoking. I'm not as effected by viewing other artists work as I am talking to them about their work, their process, and their ideas. Maybe I'm too auditory, but it's the back and forth conversations and exchange of ideas that sparks me. This year working along side my fellow students has been pretty inspiring. Junction helped a lot.
DeleteSo now think about your World's Fair in terms of your art...if you do not exhibit on a regular bases, tell me about your dream location.
DeleteI to hunger for more information about this movement, and the craftsman affected by it, and the works that came out of it. I have been pleseantly suprised by all that I have learned in the first 3 chapters. In my history classes, my book dedicated a half a page to it, and identified Frank Lloyd Wright with it. Nothing was mentioned of the social aspects that resulted in the movement.
DeleteI was completely drawn in by the section pertaining to "art pottery;" sandwiched between ceramics (Art) and mass produced pottery (Craft), art pottery is the awkward ceramics child that fits in neither clay world. My own personal clay experience made me chuckle at McLaughlin's words, "For a time it was a wild ceramic orgy during which perfectly good clay was spoiled and numerous freaks created." But of course, I am like the awkward art pottery child, with a foot firmly planted on both sides of the ceramic argument. I see how high artists, those that believe that art exists purely for the sake of art, might believe that clay MUST be withheld from those that might traumatize the aesthetic sensibilities of us all as pot after ugly pot is churned out, with no regard for personal growth or development. Does the world truly need more mediocre, dare I say, "crappy craft?" But the educator side of me, the process/craft/studio maker side, understands how art is not always all about the end product--whether it is the pinnacle of production--but that many times participating in the process, the act of making, can be more rewarding and more edifying than the end result.
ReplyDeleteI saw no difference between the clay guilds described in the chapter and current clay "guilds" or craft studios, where the participants predominately share the descriptors white, wealthy, and women; clay takes countless hours to master and who has that luxury of time? I found it very interesting that these guilds of the 1800s had men throwing the pots, creating the glazes and managing the books, while the women--without spoiling their delicate femininity--happily painted and decorated the surfaces of someone else's pot. I certainly do not want to take away from the achievements of these women; the dominant, female characters we met in the chapter--McLaughlin, Nichols, Fry, Frackleton and Jacobus--advanced beyond what women in their society were expected to do. These women had access to their means through advantageous marriages (or wealthy fathers), but had the unique combination of talent and drive to succeed, where countless other women in the guilds churned out mediocre vase after mediocre vase. Many advanced past points where society felt comfortable into male-dominated tasks: Fry innovated and educated, Frackleton built and grew a business while taking over the potter's wheel, Jacobus, too, built a business and delved into glaze chemistry, and McLaughlin experimented, published and won awards.
I enjoyed reading the stories of these early American businessmen and women, finding our own American aesthetic, while still looking across at England (Europe) for influence. Because much of the chapter read as a story, it became easy for me to file away the details to each movement on a timeline of sorts within my mind. Hopefully that will help as the book builds on the various crafts. I will have to maintain an awareness as we read further to focus not only on what draws me in (areas of craft where I have some prior working knowledge/enjoyment) but also on those crafts foreign to my experience.
Bravo! I completely agree with your first paragraph!!! I ask my students, "Does the world really need another crappy plate?" So, if you're going to make one, make it wonderful!
DeleteI agree with you about whether crappy or not, the satisfaction and proudness of making something is more rewarding than the end result, especially for people that don’t have the confidence in making something “artistic”. Also, what might be considered crappy to one might be beautiful to the maker or some random stranger. Is there one person out there that determines what is considered a perfect piece? Does mathematics decide if it’s perfect or pleasing to the eye by depending on proportions and what not? Or, does some find it to be too perfect, therefore it's not clearly art since it doesn’t look like it was made by a human? I guess it all depends on who is the judge, client or critic to really say.
DeleteI also feel that "...the act of making, can be more rewarding and more edifying than the end result." This process is what keeps the artists of all ages engaged, curious and learning as the process is theirs alone when making. It also keeps us on the quest to make a less crappy plate than the one before.
DeleteCandace Wheeler was curious in that she stressed the "social and psychological" but was also basically saying let's make money if we can. Being business oriented also seemed to make her "embrace mass production", which seemed strange to me at first but she was also trying to help those in need. I think a realization of economic profit potential made "women's" art more attractive. Of course part of the success was that men could participate in her SDA program. Part of the reason Wheeler comes to mind in this discussion and stands out to me is her mention of the psychological and I would even say therapeutic when it comes to the enjoyment of the process of making art.
Welcome to a wonderful book that only gets better. The argument between ugly and beautiful, functional and decorative will continue. Think on your past education, on how you educate and the ways your view may be changed by our readings.
ReplyDeletegood work
What impressed you?
ReplyDeleteMorrison impressed me the most in chapter 1, because of his social beliefs and the wide variety of crafts he worked in. Many of his crafts included ceramic glazes, letter and illustrate manuscripts, engrave wooden block, dye wool and silk, print textiles, weave tapestries and rugs, and wallpaper design. He started an interior decoration business, where he would create the furnishings and décor, and believed that art should be distributed across all of society, and not reserved for only the wealthy. He also started the movement for preservation of historical buildings. He also believed that art was not just about the fine arts, but items that were used on a daily basis, and that decorative arts should be equal to fine arts. It is interesting to know how advanced his insights were for the time, and how they still hold true for today.
When I read about artists it is usually about how they have become masters of a single craft that they have worked on their whole lives. Whereas Morrison dabbles in many crafts, I feel a connection to him in this aspect for I have many interests in art and cannot see myself committing to one particular craft my whole life. The other connection I have with Morrison is that he had an Interior design company; he would design everything from the furnishings to the design of the room itself. I was a commercial designer for 10 years, and educated to design furnishings, architectural aspects, carpets etc. Unfortunately, designers like craftsman are not valued for their services, they are seen more as decorators and not the artists that they are.
I've always wondered (maybe worried) if I'm a "jack of all trades, master of none" because I tend to find all forms of making interesting and can move back in forth between artistic interests. However, in our day and age we have more of a freedom to experiment with various modes of making. Yet it is sad, as you mention, that in our current society we've lost our idea of craftsmen as artisan. Consider how most people build/design a home today; almost all parts of our homes are prefabricated--does anyone build cabinetry anymore?! I agree that those still working as a true artist in their craft deserve respect.
DeleteWhat are you carrying away with you?
ReplyDeleteHow Morris and Burne-Jones, and Rosetti worked together on a common venture, even though it was a disaster. “Nonetheless, the idea of a group of artists working toward a noble purpose became the model of for all of his artistic enterprises (p.6).” Is this not the same idea that groups of community artist work under? I am not sure if this is the beginning of such an idea, or if it is the first to one to give credit to all the artists?
Other things that I carry away with me are: Handmade crafts are unique, one of a kind. That art should be integrated into ones daily lives, and affordable for all of society, not just the wealthy. That crafts and fine arts are equal. The economics of craft are difficult for the craftsman, and still hold true today. That profit motive, the factory system, and social injustice were able to be changed through the beliefs and ways of the arts and crafts movement. It was also believed that it was “impossible to have truly good design without simultaneously creating a better society (p.2.)” Basically they changed societal views through art. That the home was the proper site for design reform, insisting that individual creativity is important. The reform began as a concerted effort to put pleasure back into work, and reinvest in humanity. The philosophical basis for Arts and Crafts believed that there is a moral value to the truth to materials. There should be no deception, no mock materials, and should appear as true and solid. The designs adapted to the materials being used, and simplicity in decoration.
I carry these things with me in the belief that art can change society, and that these philosophical ideas still hold true today.
What surprised you?
ReplyDeleteI love this book!!! The Arts and Crafts is a favorite movement of mine. As a designer I only studied the Architecture and a few furnishings, never reading or discussing in class the social aspects of the movement.
From the readings I have gained a better insight and understanding of it. I have listed a few of the things, even though there are many, that surprised me the most in Chapter 1; how they began, who started it, who was affected by it, and what it stood for? I thought this movement to strictly be an American one, and was surprised to read how it began in England and quickly moved to America. It was as a direct result of the major social changes occurring in society as a result of Industrialization. Industrialization transformed the production of items on a massive scale, at low costs. The workers in factories made low wages, worked long hours, were void of skills, and forced into inhumane working conditions. The community support system in rural communities was not available in the cities. There was no public education or healthcare, no public water supply or sewer systems, and disease and poverty were common place. We still live in an industrialized world, but the human conditions and social support systems have improved dramatically. American society is consumer driven, they want, items made cheaply, in modern designs. Handmade items are still seen as a luxury, and expensive. These issues of craft vs. machine made are still a debate in today’s times. I was hoping that after the last economic disaster suffered around the world that Americans would want to live more simple lives, becoming more introspective on their values and life styles. I have many friends that are artists and they have to justify the costs of their art to the public, are living on nothing, and make many sacrifices to keep their craft going. They learn to become sales people, manage money, and create art that according to the client’s needs.
The other thing that surprised me was the three Englishmen responsible for the greatest impact on the Arts and Crafts movement; Pugin, Ruskin and Morris. “Each believed it possible to have truly good design without simultaneously creating a better society. (p.2)” Pugin believed that good design would have a positive moral impact and the ability to improve life. Ruskin believed that the life of workers was manifested in their production. “He felt that they could derive satisfaction from their labor only if they were given creative control. This vision, above all others, inspired the craft revival. (p.5)” Morrison justified the higher prices of crafts vs. machine on the premise of quality and uniqueness. That art should incorporated into ones daily lives of ordinary people.