Here is half of my postings for this chapter: Makers Chapter 2 : handwork and industrialization
I did not expect for the discussion of slavery in craft making history. Even though art and crafts have to do with so many other other things, it's not something that I expected. I found it interesting about the department store being developed to sell goods and luxury items. When I think of department stores, I think of clothing. However, this makes me think of when I went to London and walked in a Fortnum and Mason. The opening of the store what full of product displayed in an beautiful artistic way. Everything was placed in a specific way and had an elegant look to them. Fortnum and Masons website says they have been around since 1707. I also found it interesting how even back then, "people were looking for meaning in a time of change, and the consequence was an emphasis on introspection and self-fulfillment" (p. 39). Couldn't we say that today? Introspection, the examination of one's own mental processes, is something that people always seem to do to improve oneself. We are always trying to improve things and analyze the way things are. Self-fulfillment, the fulfillment of one's hopes and ambitions, seems like something that people are always trying to do to get the most out of life.
When I look at the bench made by Stickley brothers on page 46, it reminds me of the bench my dad has in their house with all of this classic furniture. It's more of a bench shape, but has metal backing, with oak wood and designs like the Balmoral Settee.
I enjoyed to read about Frank Lloyd Wright with his geometric designs through out his architecture. I remember him from studying his houses in my undergrad. It makes since that he admires machines and his interest to " embrace the machines" (p. 48). His artworks seem very machine like with all his geometric verses organic shapes. I found it surprising that his diagonals are repeated throughout the structure of the house and other details.
I thought it was sad to read about Arthur and Lucia's murals in some houses in San Franciso being destroyed by a earthquake. You forget about natural disasters ruining artwork. When Hurricane Katrina washed over New Orleans, a lot of the paintings hanging at my dads house got ruined and had to be reprinted. I am still painting and touching over some of them today to retouch them up. However, when you think about the lasting of artwork and what they are made out of , I do not think of this. When thinking about watercolor painting, I think of beauty and how easy it can be changed with the touch of water.
I enjoyed to read about an ceramic artist, Gates, who has "market a line of art pottery without painted decoration, beautiful for its form alone" (p.53). I appreciate forms that are not painted in an intricate way and still have beauty.
The beginning of each chapter is meant to help us understand the culture/ habits of the time. As you read it is important to ask who was allowed to learn/study, who was thought to be unable to learn. The argument about education is based on prejudices we all carry. In reality it is just mud/paint/thread/glass or metal. Each artist discovers her or his own relationship to their craft/medium. How would you describe your class room/ your teaching method.
Because I teach at a middle school, the students are all at different levels. 6th through 8th grade have a choice of art 1 through 3. I also have an advanced art class which is high school credit that I started 2 years ago. In the Art 1-3 classes, I teach the fundamentals and a variety of mediums and techniques with the elements and principles of design. I also connect to artist and other subjects in these lessons. In my advanced class I am teaching them on an individual level. My objective is to be more of a facilitator and they bring me there ideas and I I help them develop them. We also look at contemporary artist and interpret their work and artist statements.
Melaine, that’s ironic you talked about Fortnum and Mason because my husband and I just got back from London while visiting over the Christmas break and I know exactly what you are talking about. I definitely agree that it is human nature for us to all being changing in order to make life more comfortable but yet if we are comfortable and not fulfilled then we must change as well. I think we know our life is short; therefore, we do want the most out of it. I certainly do. I also agree with your opinion that Wrights design seems very machine like. I think so too, but I think his designs are very eclectic in the way he uses his lines. I think that is what is so appealing to my particular eye and taste. I really love his work. I get a sense of bohemian structure from him. I think he would be very popular if around today.
I also enjoyed reading about Frank Lloyd Wright. For a brief period of time he inspired me to become an architect...until I remembered how little I care for math, physics, and all those pesky formulas/calculations. But this summer I finally got the chance to visit his home and studio in Oak Park, Chicago. Won...der...ful! Our text does a great job with descriptions and the photos are gorgeous, but it is nothing like being in the physical space that was designed down to the very last detail. The home and studio were huge, but the care in design made the space feel warm and intimate. I still can't get over the octagonal "meeting" room in the studio--entirely panelled in walnut. Sigh...
I didn't realize that we almost lost a lot of the Wright homes in Oak Park, even Wright's personal home; homes were sectioned off into apartments, and Wright's home was being sold off piece by piece. Thankfully members of the neighborhood (I don't think the Wright Preservation was set up at that point) stepped up to purchase FLW's house and eventually restored it, and many of the furnishings, to it's original design.
The most surreal moment for me though, happened as my brother, mom and I were walking through the Oak Park neighborhood to view the privately own FLW homes, and in passing one I looked in the gorgeous diamond-paned windows...to see a football game rapidly unfolding on the huge TV screen. Weird; 21st century meet FLW.
Emily- I enjoy reading about your experience seeing the Wright Homes I would love to do that as well. But I especially like the vision of 21st century seen in the paned windows. I love seeing how designs of the past interacting and influencing the present. I am afraid Wright would shudder to see the clutter of my living space, but I think inserting technology of TV or microwave might fit in well with some of his designs.
Brea, I do have pictures I could share (I'll look into how to share with y'all). Martha, I know what you mean about what FLW would think of how we live in his spaces. I'm sure with his attention to detail he'd find certain things (like dog toys and knitting baskets) an affront to his grand design.
Chapter 2. When I started Chapter 2, as I was reading through all the facts and new laws being created, new movements, the price for consumer goods and politics, it never really accrued to me before how much our commerce shifted in the 1900’s and changed toward creating a new industry that was more flourishing and contented than ever before. Of course, reading all this wasn’t a surprise to me since we learned all of these elements growing up, but reading it all together in a five pages really surprised me this time. I really saw and visualized the change for the first time. Now, I feel as if the depression was inevitable since the only way to go when you have reached the top at a rapid pace, is down. “Hand production could survive only as long as it didn’t compete with mass production and mass distribution” (pp.38). After reading all of the rapid change, this statement didn’t shock me much. I was expecting it since our society had a taste of faster transportation with the new rail road and automobiles. Technology made consumer goods more accessible and more versatile with urban modernity. Furthermore, with electricity and the telephone finally making their way around, I could see our society was experiencing a faster, cheaper, mass distribution life. I could have never imagined, without reading Makers, how difficult it must have been to survive economically and happily as an artist in the arts and craft community at this time. However, who would have ever guessed the twentieth century was the decade that ideas and ideals were developed that support the craft industry for the next 40 years with all this mass production change.
What impressed me were the merchant endeavors and craft communities that had established. There was Hubbard and the Roycrafters and Stickley and the Craftsman Workshops. Roycroft had a distinct intermingling of idealism and capitalism with a wide imagination and determination that advocated the arts and crafts. Stickley, that introduced a radical new line of furniture along with many other accomplishments, became forever known as having defined the American Arts and Crafts style, (pp. 39-45). For me personally it was intense and overwhelming the ambitions these artist had in achieving their vision. From design to production and even advertisement by publishing magazines such as the “Philistine” and “Craftsman”, these merchants were definitely inspirational to read about, but at times made me feel like a big underachiever. Honestly, I could never imagine pursuing a dream so massive. It’s sad to think about really, but out of all the dreams and goals I have now, even if only a few, seems really difficult to triumph and at times unrealistic.
When reading about Frank Wright, I could perfectly envision the type of not only architect but person he was. Reading about him actually made me smile. ““Ornament was “imagination giving natural pattern to structure itself””, (pp.47). I love this quote and it made me think of a friend that believes; if a piece of work isn’t beautiful just make it gaudy with whatever ornate pieces you can find…haha. “For one of his most enthusiastic clients, Mrs. Avery Coonley, he even designed several dresses!” (pp.48). You can tell Wright likes to make everything beautiful with his work. I personally loved all of his creations even if they weren’t easy to live with. “If you wanted art for everybody, you either had to embrace mass production or reorder all of society”, (pp. 48). I agree with Wright when referring to this statement. Honestly, handwork was too expensive to fulfill the needs of masses and with times changing to mass production, I feel there was no other way than to accept this and I think Wright did. However, I treasured how Wright contracted out of shops and factories and only produced for one house at a time to avoid mass production; this also impressed me as well.
There is a great documentary on Wright that I found on Netflix late one night. It was four hours long and had me up until the wee hours, but it was worth every minute of lost sleep. It highlighted his relationship with Sullivan as his mentor. Sadly, the documentary didn't paint him as the nicest guy. His singular vision was on his work and that seemed to make him self centered and pompous. Since I really admire the work, I really wanted to admire the man, and like him as a person. The more I watched the documentary the more I realized that it wasn't going to happen. DARN! He sure did leave a legacy!
Reflect on who the great crafts of this time were for...the person buying it? the artist making it? the larger world of art? What is the importance of this history lesson on your art/your teaching?
It was interesting to read about how the artists were getting back to their grass roots, and society was seeing the value of things handmade. This only applied to the upper class who were to purchse the pieces, and to see how artists struggled with the costs of their art.
Gail, Wright is a genius and a difficult person. There was a book a couple of years ago called Loving Frank. It's told from the perspective of his lover and touches on the aspects of him that were so captivating. You might like it? There is something redemptive there.
The old Dallas Theater center was designed by Wright. Legend has it that Wright would not allow for an elevator to the basement prop room. The heavy sets would have to be and carried up a staircase. The Board and builder, secretly got together and had a service elevator put in anyway but hid it every time Wright came through to inspect. Whether it is fact or fiction, illustrates an uncompromising sense of purpose regardless of practicality.
One of the ongoing issues within art is "can you admire the art even after knowing the person was not so kind or fair or faithful or even nice to know"? Think about the artists you know. What is is like to see someone get ahead, way ahead, knowing they use and abuse any and everyone in their way. What does knowing the whole truth do to the value of art?
I think all the data collected about the artist and the context of the work does influence your opinion about the work. I feel like the more knowledge I have about the artist and the story behind the work, the more I can appreciate the work. If however the artist came across snobby or rude in their presentation, it would influence my opinion of their perspective. Since artist are using their personal perspective and displaying them in an artist way, I believe it influences my opinion of the work. Artist can still produce great work, but I might not appreciate it as much for the meaning of it.
Future, that is a really good point... "Can you admire the art even after knowing the person was not so kind or fair or faithful or even nice to know"? I think sometimes that can be hard. I definitely agree with Melanie. When reading about Tiffany in Chapter 1, I kind of got an, ehh…feeling about the type of person he was and I saw myself judging his work and felt ashamed of it really. But honestly though, I think sometimes you have to put that behind you and really focus on the work itself and not your perception of the personal side of the artist. If you naturally admire the work then I think you should not hide from those feelings. It might be hard, but I believe that would be the honest thing to do. Also, maybe the artwork brings out of a side of the artist you wouldn’t see without looking and really reflecting on the work itself…maybe you have a bad opinion of an artist and you see their work and you love it no matter what you heard. Or maybe you love an artist and you see their work and all of a sudden you think, “This isn’t the person I thought I knew”….
Gail, I will for sure check out the documentary on Netflix! Thanks for the heads up! I am curious to see what you are talking about. I might not like the fellow, but his artwork speaks to my soul for some reason…haha.
I think some of the greatest minds of our time have had not so good social skills. Maybe a lot of them didnt know how to express their real self except through their artwork? I don’t think we will ever have true judgment about these artists because no matter what we are watching or reading someone else is setting our judgments through their own opinions. I think the only way to really know what type of person they were without knowing them personally is probably looking and analyzing their work for our own opinions because that is probably the closest we will come to their own words.
Gail, I actually own that awkwardly long documentary. Haha, I really was obsessed with FLW for awhile. I think the contrast of his homes with the homes I knew--suburban Dallas of the 80s, 90s--was so sharp that I was in awe of his attention to how everything in a space is related and a great designer must pay attention to it all.
And, yes, it is hard to see the amazing work a person can make, only to learn that as a person there isn't a pleasant, kind, caring bone in his/her body. But I think that great art or great design is still great, even if the person that made it is so terribly flawed in character that you want to dislike their accomplishments.
As I was reading about TECO, I wanted to Google Gates work so I could see some of his pieces since they sounded so memorizing. Lo and behold, I found a silver overlay matte green Teco pottery vase that is being auctioned right now! Its estimate price is $1000-$1500. You can check it out here. It ends on Febuary 5th. http://www.liveauctioneers.com/item/15523356_a-silver-overlay-matte-green-teco-pottery-vase
Lastly, my favorite part in this chapter was reading about Craft Education. Not only because I am striving to be an art educator, but because reading about the importance and birthing of art institutions in America and the idealism behind it that helped studio craft survive was a since of pride for me. I am not an art teacher but with an art background and working in an education service center with highly respected educators, I have been quickly judged as having a frufru slack off degree since it is in Apparel Design and Manufacturing and Art. At times respect hasn’t been provided and in my setting most of the time my opinions aren’t taken seriously. I am sure some of you that are art teachers have experienced this as well. Therefore reading about the philosophy of Arts and Crafts and the affect it had, not only in helping developing our society today, but in education as well, really makes me proud to be a part of it now, it truly brings tears to my eyes. “Art schools, museums, and the manual-training movement all had the same goal, to improve American business prospects by improving design. The manual-training movement—craft teaching in high schools—inculcated thousands of students with craft skills that they would later turn to as hobbies”, (pp. 83). I will forever take this with me.
Until you posted this I didn't really give TECO much of a thought. But I just Googled TECO and I love the forms. Thanks for highlighting this. I wouldn't have even looked if you didn't mention it. Apparently there are reproductions being made now too.
Brea, hold on to the histories of each artist...the job you hold or the degree you have is not how you or your art is judge. If you do not make art, think of the publications on art and the wonderful idea of simply promoting beautiful works of art. It is easy to make fun of a degree you have never tried to earn.
I know how you feel, when you say that you have been judged for having a less than worthy degree. I to have been discriminated against for having a design degree. I see interiors as canvases for my art, it is not just about decorating.
I absolutely agree that it is easy to make fun of a degree you have never tried. I just wish everyone thought the same thing, but that is the real world. It is nice to be in a class like this with people that have either experienced that same thing as I, and that are like me. I think if people saw my artwork and work in general instead of my typed diploma they would have a different outlook for sure, I am curtained about that.
Debbie, so true! Most of the network guys I work with, I think, they think “Art” is just coloring in a color book or something. I don’t think they realize the most famous artist of mankind were also the geniuses’ of our time as well. They don’t intertwine art with intelligence. Which, theoretically… it takes a genius to understand art.
You know, I randomly decided to type in various names from this chapter into my Pinterest search bar and I found the most amazing things out there. I also stumbled across a few individuals that have entire boards devoted to Arts and Crafts (although some is not just American A&C) and was able to see images other than those in our book. I don't always have the time for pinning, but enjoy being able to "pin" images and websites that I can go back to later. Now as I read I'm making a "note" on my phone filled with the names of studios and artists, so the next time I have some free time I can look up more images on the web and Pinterest.
Frankly, I found this chapter a bit overwhelming. There was a lot heavily detailed of coverage of the ceramic/art pottery world, and much less on the metal smiths, jewelers, and glassmakers of the time. I really connected to the discussions on art schools and education since that’s my current world. This chapter made it easy to identify the various philosophies that still influence today’s craft education world.
There were many surprises for me in this first chapter.
• Although I had heard of Roycroft furniture, I really didn’t have the knowledge of it as a craft center or kind of arts community. Its interesting that it really was a model that hasn’t successfully been reproduced in any long term meaningful way. • I’m still (repeat from my last post…) 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 surprised that Stickley was such a master of PR and marketing. His carefully crafted “story” of the thoughtful, solitary craftsman making hand-hewn furniture, certainly was not the reality of his manufactured process. The Mission Style for which he became famous was notorious for not being a factory made product, but in fact turned out to be. I, along with most other Americans bought into the hype. He (Gustav) surely proved the connection between craft and commerce at the time. My husband and I have very close friends that collect vintage Stickley furniture. I’d hate to share what I’ve just learned, for fear they’d cry!
What impressed you? • Since I’m a glass fiend I was impressed by Fredric Carder and the beginnings of Stueben glass. I was aware of Carder, but thought his sale of the company to Corning happened much, much later in the century. I was disappointed that war efforts forced this sale, but impressed that he stayed with the effort even under Corning’s ownership. • Since I’m a studio glassie, of course my interest would flow to Frank Lloyd Wright’s contributions. What impresses me the most about him is that he managed to maintain his versatility as a designer and architect while he worked in so many mediums. The same can be said for Louis Comfort Tiffany. Both men worked in various mediums, producing largely functional items. What I found interesting was that they both became so well known for subsections of their work, which constituted a relatively smaller portion of their collective design/manufacture practice. (Ex. Wright’s windows and Tiffany’s lampshades.)
What are you carrying away with you? Although I’m a modernist, and a lover of the Bauhaus style and all things Eames, I really do have an affinity for Prairie, and Bungalow art and architecture styles as well. I didn’t know anything about Greene and Greene. I’d love to see their work in person. I’ve always been a lover of art jewelry, so I’m looking forward to seeing more discussion of that in upcoming chapters. Mostly, what struck me in this chapter was a sense of bucking convention by so many of the makers of the time. I personally think that stretching the rules, and trying new approaches is what furthers art and craft. It’s partly why I went back to school, as I knew it would stretch my thoughts and approaches to my work and my teaching. I know it has changed both!
Gail, each chapter varies between the 5 mediums. The book tries to show how each form has had times of great importance only to lose favor within a short time. I agree about the concept of the art of newly freed slaves. Their story is an important part of our history as is the story of Mexican Americans, Asian Americans and all the other wonderful cultures that now call this place home. I think the book is trying to give a overview of what was seen at the time, not what should have been seen. Good work.
I'm right with you on being most interested in the education section of the chapter. It's interesting to see the changes the education system has made but also how some things haven't evolved through the years.
It is interesteing to see that some of our current philosophies on art and education, are not new ones. THis book has been an eye opener for me, for I never new how the Arts and Crafts movement was socially based, and was such a large movement that affected all trades across the board..
Gail, I had the same outlook on your surprises and impressions. I also was surprise by Stickley and Hubbard for their PR work. I couldn’t imagine having such a widespread business and handling everything myself. That took a lot of dedication and passion for sure.
I was also impressed with all the mediums they used. For some reason I think if you have a passion for one of those specific mediums you will have an interest for all. Or at least that is how I feel. I am interested in all of the mediums, a little intimidated by a few and haven’t tried a few but certainly interested. Maybe I am just attracted to “craft” no matter what medium it is…lol. Maybe that is how they felt. They wanted to dip their toes in all of the craft mediums…haha.
I really enjoyed the ceramics section, but that is probably due to the enormous amount of clay I took in undergrad. It was nice to see familiar names pop up and because of my experience with throwing/mixing glazes/firing pots I found the discussion quite interesting. Although I know historically most ceramicwares were made by one person throwing, a separate person trimming, separate person glazing, and separate person firing, it was very weird to read about many potteries had an individual who threw, while a whole team of ladies decorated the pots with slips and glazes. And a chemist on staff! Today most clay artists do it all, so it seems strange to think of a pot as a collaborative work, rather than one artist's execution.
You bring up a good question for thought...how do you, and I mean each of you as individuals, think about the concept of collaborative art? What when only one name is given to the work of art? Do you accept help with your work?
The question of collaboration is often something students asked me about when I was teaching. WHen they found out that some artists had assistants and did not do all the work themselves it bothered them, kind of like they were cheating. My daughter was in the magnet arts program in high school in Richardson, and she was very reluctant to use any "found" images even in a collage. She wanted to photograph her own images. I think part of this was the stress on original work and citations in her academic courses to avoid any chance of plagiarism. I like the idea of collaborative art and I think the process in collaborative art can make it so meaningful in a different way than an individual working alone. In the arts and crafts movement to me collaboration made sense as in many of the shops it was the collective working together to keep the shop going. But collaboration in the shops also should of included the possibility of the "workers" sharing creative ideas in the process, if they wanted to. It was more of a business model in most cases . Those who felt they could not be creative (and had the means) moved on to create their own business.
I love collaborative art--it speaks to differing personalities coming together to problem-solve, design, and build. What I find unappealing is when one person takes the credit for a group's work; even if they are "nothing" interns or factory workers, I'd like to know what hands created the work.
I couldn't help but think of Thomas Kincaide throughout this chapter. So many in the art community loved to hate him/his work, as they say, because his "paintings" were simply serigraphs that were "hand touched" with oil paints in Chinese factories. I didn't personally care for his work, but part of me thought, "Smart guy, the people buying his work lack the art knowledge to know he didn't actually paint each piece. Hello, big bucks." He figured out how to get rich. I don't think I'll try that method, mainly because as I make work I want to educate those that come in contact with it; if they don't know the casting process, I want them to learn and appreciate how things were made.
Chapter Two contains ample material covering plentiful interesting personalities (George Ohr a personal favorite), however two themes, interrelated, kept glaring out at me throughout the whole chapter, and even some of Chapter One. Arts and Crafts artists seemed to struggle with the idea of business and art existing in the same space; today's artists even have a suspicion of "commercially successful" art makers. Tied into this discordance of business and art are the elements of who to hire and how to make unique, authentic art that is also economical to produce.
Page after page of Chapter Two lists artists, communities, and societies forming, growing, and--inevitably-failing. The success stories--L. & J.G. Stickley, Tiffany--are few; their common strength lying in adaptability to changing tastes and times while continuing to provide quality products. Logically, I realize not all business formed have the business plan to obtain longevity, especially amongst the economic upheavals 20th century America rode through. Yet those in the Arts and Crafts movement tend to ignore the business concept of profit, or pooh-pooh an arts based business that accumulates wealth. A business that operates in a socially conscious manner is an admirable business, but a business that operates contrary to mathematical reality is certainly doomed to fail.
Although wanting affordable art for the masses, the leaders of the Arts and Crafts missed two elements of attaining the goal: affordability in the end product and equality in designer/laborer. Chapter Two contains gorgeous examples of amazing craftsmanship in wood, ceramicware, metals, and jewelry; unique, one-of-a-kind artworks. The time taken to craft the work and the materials used in the making both ensure that the end result must be valued too high for anyone less than the wealthy elite to afford. The artisans--and artists of craft today--are trapped in a limbo between a grandiose goal for quality, aesthetically strong goods for all and the economics of production. Either one compromises on quality of materials or on monetary compensation.
There's also a struggle in Chapter Two concerning the labor force that made the work. It is interesting to watch the discussion of women in the crafts field, eventually breaking into the male dominated labor force. Equally as interesting is the idea of a "robot" labor force ("don't worry, they're artists, so it isn't a factory"). Ellsworth Woodward of Newcomb Pottery was not concerned whether his students fully understood ceramics--he simply wanted a labor force to churn out pots. We see this attitude again in Ralph Whitehead; his goal was to set up a utopian craft community that produced quality furniture items. He hired local carpenters, skilled workers, but didn't allow laborers to design. As an art educator, the idea that a laborer cannot also design just doesn't jive; as we teach our classes we realize not all children will grow up to stun the word with amazing artistic wonders, many will only be visual consumers and commentators. But we know that they all can learn fundamental art and design practices. Later in Chapter Two, we see a change in this attitude as arts education begins to build on the idea of direct experience, the building of art knowledge through exposure to art experiences.
I'll be watching as the upcoming chapters unfold to see how the Arts and Crafts movement progresses in these areas; will profit still be pernicious? Or will profit become the means of business advancement and expansion? And how will the movement handle the issue of an educated work force? If we are pursuing the goal of a joyful, edifying field of work, will that be for all (including the "robot" workers) or just the lead designer?
Emily You did a good job of summing up the chapter. Now can you share with us what surprised you. what impressed you and what you are taking away with you based on the readings. I asked this because I am curious as to your impressions/your thoughts/your opinions on the information. I know it is different that many classes but this approach will aid you when you have to write your final paper.
Just above (on Gail's post) I recently replied a little towards what surprised me from the chapter, how the ceramic work isn't the result of one individual's labor, but a series of people. Traditionally ceramic works from Japan, China, Africa and other regions are made in the same way, with parts of the production divided up amongst individuals. Maybe that is what defines craft? That in the end it isn't always important who did the work, but that the work was done and a object was "born." I think of items within my family, such as furniture, braided rugs, and metalwork, that were created by past relatives. By this point the items are so old that no one really remembers who actually had a hand in making it, but the generations today enjoy having the object, for it's family historicity and aesthetic. We value the walnut drop-leaf because of it's craftsmanship and gorgeous wood, regardless of whether one person made it or each part was crafted by a separate family member.
I find it surprising that time after time, when the objective of these artisans is to turn out creative, original work that is NOT mass produced, the owners of the potteries/craft guilds opt to limit the creative work for only the top and have essentially a factory of people crafting the wares. Yes, I believe that these works have artistic merit, but I'm confused why creative license wouldn't be given to the artisans on staff. Those establishing the potteries and guilds are artists themselves!
I found it interesting that even when a woman established a business, she would hire men rather than women for the production work. For example, Clara Welles and the Kalo Shop. Kalo began as an all female shop, that morphed into primarily a metals shop. I totally understand though that she would be looking for experienced craftspeople--who at that time were "craftsMEN." Many cultural "norms" for that time probably also contributed to women not being hired: home life expectations, the "appropriateness" of certain jobs outside the home, and access to the education/experience for those types of labor-intensive jobs.
My takeaway from this chapter: "specious originality." I'm trying to think of how I can incorporate this phrase into my day to day life! Haha, I don't know if anyone has noticed but I love words. "Specious originality" was mentioned a few times within this chapter and I couldn't help but get a little tickled. We definitely all try to be original with our creations, but at this point in human history "there is nothing new under the sun." With that in mind it is interesting to think of "stealth originality" or "deceptive originality;" artistans, or whomever, creating what they know is not original, but packaging it in such a manner that it deceives, even pleases, those that see it.
One of the things that surprised me was seeing Frank Lloyd Wright’s name while reading about Arts and Crafts. I never saw architecture as part of arts and crafts. Upon reading more about how his works were influenced by the movement, I realized how the arts and crafts also apply to design and ornamentation. I also didn’t know he created furniture. I found it interesting that he sometimes designed the whole house: furniture, building, and all. Mercer’s thoughts also surprised me. As I read in page 54 his thoughts on crafts and fine arts being “inseparable,” I made the connection to the earlier readings on Morris in Chapter 1. Morris also believed that the fine arts should be one with decorative arts. Another thing that surprised me was Robert Jarvie: “hobbyist turned professional.” I think this reiterates the idea of the earlier Arts and Crafts movement of not necessarily having to be born artist but using your creativity to create something of value. Jarvie taught himself metalsmithing just as other arts and crafts artists before him were self-taught.
Reading that women also played a big role in the arts and crafts movement was also very impressive, especially reading about those women who starter their own companies. What did surprise me, though, was that even though she taught many women she mostly hired men to work at her shop. The book states that many of them in turn made their own shops and continued the style. I wonder if it would have been the same turn out if she hired women or even the same women she taught. Or maybe she did that so the students could gain a different perspective from other craft artists. I thought that was a surprising point the book pointed out.
The arts and crafts communities remind me of the Amish and Mennonite communities. Is this how they began? I don’t know much about them but I know they mostly work with their hands and rarely use machinery, their lifestyles are simple, and mostly keep to themselves. The thought came to my mind as I read page 77 where the text states that Radcliffe and his wife wanted to create a community of artists “devoted to simple life of farming and making art.” When I was younger and growing up in Mexico, I remember there was a certain time in the year when the Mennonites would come into the city and sell articles they made. Sometimes they were wooden crafts, furniture, or cheese. I thought of this as I read about Radcliffe’s artist community and how he thought of creating crafts to sell and make profit to support the community.
What I’m taking from this chapter is Ruskin’s idea of training the mind and body when educating others. I believe this is something I can put into practice in my teaching. Also Ralph Waldo Emerson’s thought on education stuck with me. “We are students of words…we come out at last with a bag of wind, a memory of words and do not know a thing…” is a fair reflection of most people’s education even now-a-days. My mom used to tell me that when she was in school she just had to memorize and recite things back to the teacher. It wasn’t until she left school to start working to help her family that she learned the skills she was just reciting in school before. I keep reflecting on these chapters and tying them to my teaching in the public school system. I believe in teaching the student as a whole and not just in academics and this is something that Art can help them in.
I have heard of the Shakers too and how they have craft communities in making quilts and furniture. Here in Amarillo we actually have a highly respected furniture store called Rockwood Amish furniture and it is all handmade. VERY expensive but they are thriving here. Their pieces are one of a kind and very beautiful. I am not for sure how they got started as well. What made you think of that Rebeca? Just out of curiosity. Very good resemblance.
I goggled it and it was interesting to find out that the “Old Order Mennonites” which is the group that started living without advance technologies was around the time of the craft communities. Very interesting. Maybe their thought process was the same as Ruskin and Morris and didn’t want to be involved in rapid industrialization and urbanization therefore they started the Old Order Mennonites.
Rebeca, Arts and Crafts style homes are my first introduction to the Arts and Crafts movement. One of my uncles in Omaha has restored two Arts and Crafts homes (1898, 1911), one a bungalow and the other a larger wood-clad two-story. I absolutely love both homes and know how much of a labor of love they can be; there's a lot of wood to upkeep!
Funny that Mennonites come up! My maternal grandmother's side of the family were Mennonite immigrants that came to America in 1868 to escape religious persecution. Originally from Germany, throughout the late 1700s/early 1800s had made their way into Russia, then eventually America. Both her family and my maternal grandfather's family were carpenters and farmers, who lived lives that were self-sufficient within the Mennonite communities. My grandpa is now 86 and still creates walnut and oak furniture in his basement. I'll have to somehow share some photos of the pieces I now have in my home made by him and the generation before him.
I noticed Emerson's quote as well, read it to my husband he does not have too many fond memories of school. So much of school (college courses included) is still rote and rephrasing what one has just heard. When you do it for a long time it is hard to think on your own and that is the problem we having in some academic setting now. Students can test but not think. I agree in art class students have a chance to show what they are and feel instead of what we think they they should know and feel.
The info on the mininites is worth looking into. It also interested me that artist colonies stimmed back to the early 1900's, it seems like a 20th century movement.
I have a little information on the Shakers (around since the 1760ish)--since I went to college in Appalachia. There is a strong craft/ religious element in that region. There is actually a very cool college in KY, which takes only students below the poverty level and trains them in a craft. It is called Brea- another fun tidbit. Its all part of this movement of usefulness and "god's work".
I have been really thinking about his question how does art history affect my art and how does effect my teaching. Remember I come from a big Italian family --art history and art practices are part of my "family." It's like I am introducing old friends to new ones. "Here is my friend, Cecelia Beaux, you might like her because she paints like someone who ices cake with frosting. I will tell you more about her later."
Surprises What surprises me most in this big, thick book is that I have imaginary conversations with the author. I am surprised at what was edited out and what was left in. Some are curious choices to me. I talk to her about Dow before she writes about him and wonder why she didn't mention his widely published book with Marblehead Pottery, as a possible design resource since clearly Newcomb was using it and he was in nearby Ipwich. I look up the census report from 1910 defining urban--2500 incorporated was urban. I want more pictures--I find myself relooking up images.
Shakers Sometimes we forget what we had here in the United States. By 1780, we had Shakers and Shaker communities with simple lines and clean spaces. They believed in equality of sexes and had more than 20 settlements. Believing each work was an act of prayer, it is like the Greek icon makers, who still have to make a religious vow to work on the images. Shakers were hugely influential not just in design and craft but in music and industry. They invented the circular saw and clothes pins, flat broom and wheel-driven washing machine.
Since I actually, enjoy our American vernacular, I am reminded about the great shoulders we stand on.
Page 80. Craft in Higher Education. Women!
The Pennsylvania Academy of Design was founded 1805. Eakins was a proponent of life drawing. In 1860 women could take Anatomy. In 1866, they could draw female nudes and in 1872 women could draw men. Women taught at the academy. Catherine Drinker was the first woman to teach in 1878, her cousin and pupil was Cecelia Beaux, one of my favorite painters. A tale from Bernard Berenson tells us of an exhibition. One patron commented on all the works, "The ordinary ones are signed John Sargent the best are signed Cecilia Beaux"
It certainly has effected my practice. I have Thomas Eakins drawing book and practiced from it.
Luis Vaderama, my mentor, born in 1914, taught me the old ways- and to be interested in technical aspect of all art--from outsider to cave painting.
Big Family
American 19th century, was my area of study. When I worked at the Smithsonian-it was the National Museum for American art. These 19th c. artists and craftsmen are so human to me. I had lunch with their work everyday I knew what inspired them. They are part of my big art family and I just know everyone will be able to connect to one of them.
I too want more images and can actually see a book from each chapter. And that is how big the book would be with more images. What is amazing or sad is how few of these images are in a traditional art history book.
Oh I agree with you on that Future and Lynn! More pictures indeed! If there wasn’t a picture and I was trying to visualize it, I would google it to see if I could find anything too Lynn. I also loved that women had a huge part in the craft movement. It made me giddy reading about it all. Maybe women in the craft movement paved our way to vote! You never know!
Chapter 2. This chapter was so chock full of individuals starting their own craft workshops and communities that at times I wished for a timeline. I wanted to see the overlap of the different craft communities and shops to see more clearly who knew whom and when they worked together before starting their own workshop. It almost seemed like a mini version of a craft movement Downton Abby with the collaboration and sometimes intrigue over who owned what glaze formula.
Reading about Elbert Hubbard and the Roycrofters was interesting, as my mother had several books that had been her fathers and are now mine. Most look like fancy scrapbooks and are full of quotes that Hubbard thought were noteworthy. It was fun seeing the facts about him and the promotional skills that helped establish Roycroft. I had no idea that Hubbard was so involved in the crafts movement through Roycroft . I am going to look at these books again with more interest and appreciation, as Hubbard really had quite a following. The books are beautifully bound and still in good shape.
There were several WOW moments in this chapter, especially since I had not taken any courses in the history of Art Education. I was amazed by the Drawing act of 1870 in Massachusetts and how very progressive and surprising to have had a state mandated art program so long ago.
I found it interesting how certain skills were in style and considered art, but then lost the “art” status when the definition was changed, such as in china painting. In the discussion on Adelaide Alsop Robineau, her shift from china painting to “mastering “ the wheel let her maintain an artist reputation. This shift demanded that an “artist” understand and have full knowledge of a craft. If one was only a skilled china painter but could not create the vessel the work would basically lose points at the exhibitions. It seems a real division developed between an individual being a decorator or considered an artist. I am uncomfortable with this shift as both require such artistic skills.
George Ohr was intriguing as he used a variety of glazes and clays and he also had such an interesting and perhaps confrontational attitude. I enjoyed that his “sense of effortlessness offended his peers” and I was also laughing at Ohr’s sarcasm in the comment he posted next to his piece at a show, “It don’t take a doz to accomplish art pottery”. I imagine that Andy Warhol would have enjoyed Ohr’s attitude as well. (page 62, 63).
Another artist whose attitude and style was exciting to me was Henry Chapman Mercer. Part of my appreciation in Mercer was that he was not so hung up on perfection and found “finger marks, color variation, slight differences in size…” ok. This was of course not the going philosophy but I just loved the tile work depicted in the text, Reaping with a Sickle. Its deceptively simple design works so well, like a good print. I was impressed with his use of cement and was also interested that his use of it was unusual at that time. Part of what I carry with me out of this chapter is that I should not let my imperfections keep me from creating and learning.
The Kalo shop was in existence till 1970 (wow). Clara Barck Welles really established a shop that stood the test of time even after she sold it. It was strange to think it closed up because of lack of silversmiths. Her personal interest and dedication was like many who started communities for crafts, it seemed to be what gave meaning to their life.
There were so many interesting aspects to the chapter and the art communities that I did not dwell on the lack of women in many of the programs, even though some were started by women. Women eventually embraced and took advantage of the educational programs later established. The establishment of schools at the end of the chapter encouraged people to make art, thus making their lives better and perhaps more beautiful. This perpetuated training in the creative arts that we still see in some areas today.
Martha I assure you this book is nothing like any history of art education I have read. But I agree I love learning how there were schools of crafts and schools of learning outside of public education but open to the public. As for china painting, this history and the fact that china painting became a hobby for little ol' ladies ( my grandmother was a wonderful china painter, filling our homes with roses and wild flowers on plates/cups and platters) is why Judy Chicago's choice of china painting is considered so radical and was a wonderful ode to the history of women.
Chapter 2 Like several others I found this chapter a little overwhelming with information. There are so many notable figures and communities, and the information so extensive that I struggled to keep everything in order. The suggestion of a timeline would be very useful as a visual aid, especially for someone like me who is a very visual and hands-on learner. Several things surprised me in the chapter. First was learning about Hubbard and the Roycroft community. Seeing someone who was predominately a writer and interested more in literature than art turn and create a community for Arts and Crafts was interesting to me. Hubbard began an accomplished ideology for craft and set a standard for others to follow or attempts to replicate in the Arts and Crafts movement. Roycroft produced successful artist from unrelated fields of work, or people that had no formal art education like Karl Kipp. The second notable thing to surprise me was to see Frank Lloyd Wright in this chapter. I have always noted him solely as an architect and admired his attention to detail in every aspect of design and continuous motifs. So it should come as no surprise the influence he held in the arts and crafts, but none the less I was a little taken back. I did find the section about “Wright and the Machine” make a point that I have struggled with as an artist. As an artist I want two things ultimately. One is that I want to share my work with the world. I want every person that wants access to my work to have it. The second is I want my work to be profitable. Wright says handwork is too expensive for the masses and that the machine was the only way to achieve high quality goods at a relatively inexpensive cost. This offers a solution to my dilemma in that mass production with the help of machines can be lucrative. But at what cost? As a sculptor I enjoy working with my hands, and I hold a certain attachment to each piece I create individually. It is unique. But machines don’t offer that touch if you will. The last thing that surprised me, or more so impressed me was seeing William Gates and Teco in this chapter. This wasn’t a shock so much as it was a pleasant surprise. The Teco forms were a huge influence for me a few years ago when I was working more with ceramic and pottery. Though I have set clay to the side as a medium, the forms have played a major influence in my work. Walking away from this chapter I have learned quite a bit about the history of craft in America. Communities like Roycroft are so intriguing to me. Also as an MAE student the sections on education proved valuable. Seeing Arts and Crafts as a movement that helped reform education is not a view I would have held before this. The only way to develop artist is to introduce people to different trades and from there one can develop their craft through working in their medium. Creating a formal way to educate people about art, even the smallest exposure, can spark a creative genius in an individual.
Welcome to the class Stephen. There is a reason that artists that work in bronze make editions of their work, they have learned how to make a living at their craft. Even when that craft takes the help of a foundry. What each artist has to decide for herself or himself is do I make one of a kind or do I find a way to make copies (under my control) of this work. I have a friend that makes very nice poster like reproductions of his paintings...affordable and smaller to aid in accessibility and actual ability to hang in a normal home. Think about the size of most art today. It is intended for museums with 12-20 foot high walls and no furniture. Or in sculpture it may be intended for an outside installation. How does the average person display that? So the question comes back for whom do you intend your work? Or what is the intent of your creativity?
I also thought a visual time line would be beneficial, since I am a visual person as well. We should all create one together to keep with us for reference! I agree with your handwork vs. mass production dilemma. However, if you were to receive an order for example: 100 pieces of work that wasn’t made yet and needed to be done in a few weeks… could you produce that handwork for your clients in time? I think it would be incredibly hard to meet those expectations without the help of a machine or multiple people that work like a machine. I think something has to give a one point. Either you have to turn down clients in order to focus on the orders you already and not get piled up, or hire extra help. I guess in reality you have two choices, you pay more for extra help or machine production to serve anyone interested in your work. Or, you only take small orders at a time, even if that means turning clients away in order to meet your production time frame and handwork expectations. Either way, I think you will lose some sort of profit. I guess it all depends on what matters most to the artist and what type of artist they are.
Future had a really good point… “What each artist has to decide for herself or himself is do I make one of a kind or do I find a way to make copies (under my control) of this work”.
It certainly depends on the type of artist you are and what is more important to you. Too bad we can’t clone ourselves and have both! That would be ideal… :)
Very true! Especially when I teach, my students have a hard time coming up with something original because they want to see my example. When I tell them there is no example and they are free to use their creativity, some of them are excited while others just look at their neighbor's work and copy. I encourage sketchbooks a lot and remind them to refer back to them when they get "stuck."
What surprised me? What surprised me the most was the reform movements that were sweeping the nation at this time. Reformers believed that the problems of society were as a direct result of industrialization. Several things that helped to motivate this reform: one was the social gospel, which believed that it was every Christian’s duty to help society from its ills, and the other was the social sciences, which believed in the laws of nature helping to improve the human condition. The reformers saw the value and need for industrialization, but wanted to reform some of the problems associated with it. These problems included poor working conditions, the lack of physical activity, the need to be on time, and stress. People wanted a change with an emphasis on introspection and self-fulfillment. The Arts and Crafts movement helped to fill this desire among the upper class. What impressed me? There are many things that impressed me in this chapter, but the one thing that impressed me the most was that of the Mission style, which became the dominant form in the American Arts and Crafts furniture. The mission style is simple in form, with reference to American history. Americans had a desire to feel connected to their native tradition for design reform. The Arts and Crafts movement fulfilled these need due to its “honest use of materials, revealed construction, and inspiration from nature (p.50).” The emphasis on all things handmade also meant moving away from painted surfaces, and the use of local materials and local character in decoration. What are you carrying away with? One of the things that I will be carrying away with me is the focus of Arts and Crafts in higher education. The need for advanced training in America was as a direct result of the need for advanced training in design. The Massachusetts Drawing Act of 1870 mandated free instruction in mechanical drawing in public schools. It was the first art education program in the country. Some teachers believed on the emphasis of job training, and others placing beauty as the driving force through direct making of art (moral environmentalism)as a way to improve society. That art was one of the few educations a woman could receive at this time.
Future, I am not sure what you are asking, or why. I was taught art from a visual hands on approach.My history of art, was centered around interiors and furnishings.
Debbie, I often ask very open ended questions as a means to push each of us to a new understanding of who we are / how we are. What I meant was simply that how we were taught is often how we teach, no matter what our degree or our job. For example, I was taught in a very non traditional way. I was doing pastel portraits as a 3rd grader with a private teacher. I did my first oil painting as a 5th grader. As such, I expect the most of students and get very sad with I see watered down lessons. Or tempera paint used for oil paint.
The point of the question is to reflect on what you learned in terms of crafts/ history/ technique.
It was not personal aside from asking you and each student to just take a moment to remember how they came to art. I believe that we understand what worked for us we can "see" that is only one way to learn, and just because it worked for us does not mean it is the only way.
An example is that you do not need to know how to draw to throw a vessel. It might help but it is not necessary. Yet, we require drawing before clay.
This is eye opening, Future. I never thought of it that way. It's true, I think we do tend to repeat what has been taught to us in the past and most of the time we, or at least I, don't explore other ways to teach a certain topic.
That is an eye opener for me too. I have never really thought of that. I was really lucky because all of the art teachers I have had taught me with love and freedom and allowed me to represent who I was as an artist. The first art teacher I ever had was my father. I remember him teaching me how to draw a fire truck when I was in the first grade. We were drawing it for a parent/student contest at school for fire safety. It was on a big poster and I remember that he showed me how to draw shapes in a new perspective that I never saw before and something just clicked. It seems like yesterday really. After that I was obsessed with seeing objects in different perspective and my love for art kind of blossomed. It is ironic the memories that stay with you as you get older.
This is the timeline for the Wallace grant given to Big Thought funding art instruction in Dallas Schools (I think it actually read all Dallas children-but I am uncertain) Its a remarkably similar to the 19th c goal above-- (there is something character forming and society building in learning a craft).
2006: The Wallace Foundation grants Big Thought $1.06 million to plan a city-wide arts learning initiative. Big Thought is recipient of a U.S. Department of Education grant to train arts specialists as arts integration resources.
2007: The Wallace Foundation grants Big Thought a three-year $8 million grant to implement a citywide creative learning system now known as Thriving Minds. Big Thought Endowment Fund is established. Big Thought publishes More Than Measuring, a book outlining the Big Thought philosophy and methods of assessment.
2008: Big Thought receives a $2 million grant from the Texas Education Agency to launch the Thriving Minds after-school program in 20 Dallas ISD schools.
Nice money but how was or is it used? Are teachers allowed to attend classes on learning or re-learning crafts? (Of course I am thinking of Junction here). Are artists invited into the class to discuss their methods in workshops? Are kids given more than 45 minutes in a day, in a class of 25+ to work on and develop their craft. I do not mean to rant but I have seen so much money wasted and so little support for teachers. Not to mention actual thought to the classroom environment (size, large spaces to work and leave works out to come back to, storage and in general anything above the normal "put them in art if you can not find anywhere else for them". I love the concept of every student having an opportunity to work in art if this is supported by more teachers and more room.
I am interested in exploring what Big Thought is doing. I know when I volunteered recently with the DMA at an elementary school in Dallas, Big Thought was doing some after school activities and I did see a local artist working with the students. But I know in some north Dallas school that I have subbed in there are 30+ or - students in an art class and that makes it challenging. Art News has an article in the February issue call "A Teaching Moment" by Hilarie Sheets about a program called Studio in a School, which sounds very effective. It highlighted schools in New York that are working with grants but the schools have to come up with some funding and I believe it has been working since 1976. Artists and teachers are trained to incorporate art in the curriculum and work with the students. Key is the artists involvement. Like some of the school we read about in the last two chapters some classes are based out of museums.
Is Big Thought like Sydney Walker's "Big Ideas?" At UNT one of our go-to texts (I highly recommend) is "Teaching Meaning in Artmaking" by Sydney Walker. Another 5 out of 5 stars books is Donna K. Beattie's "Assessment in Art Education." Both are by Davis Publications: http://www.davisart.com/Portal/TeacherResources/ArtAdvocacy/Themes-in-Art-Education.pdf
I can get you all that information. It is actually pretty specific. The goal was to make art flow like water. They began with 3 hub areas in Dallas--those with the fewest social services (my neighborhood and high school were located in one of the three: East Dallas is very mixed like New Orleans in a way). With the Wallace grant Big Thoughts really moved art back into the schools --elementary schools are required to have a certain number of art education hours each week. I think each campus must have an art teacher. Big Thought created after school programs in 39 campuses--8000 students. It's really a great organization--and they are always looking for art educators (my fellow Dallasites might be interested--I am happy to help if you are).
When reading about metalsmithing, I pondered what the difference is between silvermithing and jewelry making. Working with metal seems like a difficult medium to work with. I suppose it is very similar to glass making although more control. Like glass, metal works do not need a lot of detail to be beautiful, the shine of the metal embraces the sculpture. In Gorham Company' silver plater, the metal has a liquid texture to capture the essence of water. I enjoy the movement of repetition in the rings of the water.
Further in the chapter when it talks about glass, I was inspired because of my experience with glass. Tiffany's vase in figure 2.36 on page 73, is beautiful. I have an appreciation for its form and color because it must have been difficult to make. It did not state if it was formed in a mold or by free hand.
In the Arts and Crafts Communities section, I really enjoyed the quote about living with art. " The furniture, pottery, and jewelry left behind testify to a moment when a few American passionately believed that well made objects could produce a well made life" (p.79). I could not image life without artistic objects. It seems me enjoy the details in life of the objects around me.
Melanie, I also love artistic objects around me. Especially in my own spaces; like my home or office. I feel like they are alive and have their own stories to tell.
I also appreciated the idea of art being equated with a well made life, but also was dismayed by the moral attitude of Calvin Woodward as the text said "He equated good work with self-discipline and bad work with dishonesty and slovenliness." (p,79)
The fact that tax payers saw trade education as a positive so employers would have an employee pool that was ready to work, was interesting as well. These trade schools seem to be, to business men and women the new technology in education. In the 19th early 20th century there was hope that these schools would have the potential of creating better more compliant citizens. Though the trade school were ground breaking it seems the creative goals were still mostly open to the wealthy.
I found that interesting too: that schools were teaching the trade yet it seemed like only the wealthy or privileged were being given the jobs of professors or teachers.
Here is half of my postings for this chapter:
ReplyDeleteMakers
Chapter 2 : handwork and industrialization
I did not expect for the discussion of slavery in craft making history. Even though art and crafts have to do with so many other other things, it's not something that I expected.
I found it interesting about the department store being developed to sell goods and luxury items. When I think of department stores, I think of clothing. However, this makes me think of when I went to London and walked in a Fortnum and Mason. The opening of the store what full of product displayed in an beautiful artistic way. Everything was placed in a specific way and had an elegant look to them. Fortnum and Masons website says they have been around since 1707.
I also found it interesting how even back then, "people were looking for meaning in a time of change, and the consequence was an emphasis on introspection and self-fulfillment" (p. 39). Couldn't we say that today? Introspection, the examination of one's own mental processes, is something that people always seem to do to improve oneself. We are always trying to improve things and analyze the way things are. Self-fulfillment, the fulfillment of one's hopes and ambitions, seems like something that people are always trying to do to get the most out of life.
When I look at the bench made by Stickley brothers on page 46, it reminds me of the bench my dad has in their house with all of this classic furniture. It's more of a bench shape, but has metal backing, with oak wood and designs like the Balmoral Settee.
I enjoyed to read about Frank Lloyd Wright with his geometric designs through out his architecture. I remember him from studying his houses in my undergrad. It makes since that he admires machines and his interest to " embrace the machines" (p. 48). His artworks seem very machine like with all his geometric verses organic shapes. I found it surprising that his diagonals are repeated throughout the structure of the house and other details.
I thought it was sad to read about Arthur and Lucia's murals in some houses in San Franciso being destroyed by a earthquake. You forget about natural disasters ruining artwork. When Hurricane Katrina washed over New Orleans, a lot of the paintings hanging at my dads house got ruined and had to be reprinted. I am still painting and touching over some of them today to retouch them up. However, when you think about the lasting of artwork and what they are made out of , I do not think of this. When thinking about watercolor painting, I think of beauty and how easy it can be changed with the touch of water.
I enjoyed to read about an ceramic artist, Gates, who has "market a line of art pottery without painted decoration, beautiful for its form alone" (p.53). I appreciate forms that are not painted in an intricate way and still have beauty.
The beginning of each chapter is meant to help us understand the culture/ habits of the time. As you read it is important to ask who was allowed to learn/study, who was thought to be unable to learn. The argument about education is based on prejudices we all carry. In reality it is just mud/paint/thread/glass or metal. Each artist discovers her or his own relationship to their craft/medium. How would you describe your class room/ your teaching method.
DeleteBecause I teach at a middle school, the students are all at different levels. 6th through 8th grade have a choice of art 1 through 3. I also have an advanced art class which is high school credit that I started 2 years ago. In the Art 1-3 classes, I teach the fundamentals and a variety of mediums and techniques with the elements and principles of design. I also connect to artist and other subjects in these lessons. In my advanced class I am teaching them on an individual level. My objective is to be more of a facilitator and they bring me there ideas and I I help them develop them. We also look at contemporary artist and interpret their work and artist statements.
DeleteMelaine, that’s ironic you talked about Fortnum and Mason because my husband and I just got back from London while visiting over the Christmas break and I know exactly what you are talking about. I definitely agree that it is human nature for us to all being changing in order to make life more comfortable but yet if we are comfortable and not fulfilled then we must change as well. I think we know our life is short; therefore, we do want the most out of it. I certainly do. I also agree with your opinion that Wrights design seems very machine like. I think so too, but I think his designs are very eclectic in the way he uses his lines. I think that is what is so appealing to my particular eye and taste. I really love his work. I get a sense of bohemian structure from him. I think he would be very popular if around today.
DeleteI also enjoyed reading about Frank Lloyd Wright. For a brief period of time he inspired me to become an architect...until I remembered how little I care for math, physics, and all those pesky formulas/calculations. But this summer I finally got the chance to visit his home and studio in Oak Park, Chicago. Won...der...ful! Our text does a great job with descriptions and the photos are gorgeous, but it is nothing like being in the physical space that was designed down to the very last detail. The home and studio were huge, but the care in design made the space feel warm and intimate. I still can't get over the octagonal "meeting" room in the studio--entirely panelled in walnut. Sigh...
DeleteI didn't realize that we almost lost a lot of the Wright homes in Oak Park, even Wright's personal home; homes were sectioned off into apartments, and Wright's home was being sold off piece by piece. Thankfully members of the neighborhood (I don't think the Wright Preservation was set up at that point) stepped up to purchase FLW's house and eventually restored it, and many of the furnishings, to it's original design.
The most surreal moment for me though, happened as my brother, mom and I were walking through the Oak Park neighborhood to view the privately own FLW homes, and in passing one I looked in the gorgeous diamond-paned windows...to see a football game rapidly unfolding on the huge TV screen. Weird; 21st century meet FLW.
Emily, that is really amazing. I would love to visit there! Do you have any picture by chance?
DeleteEmily-
DeleteI enjoy reading about your experience seeing the Wright Homes I would love to do that as well. But I especially like the vision of 21st century seen in the paned windows. I love seeing how designs of the past interacting and influencing the present. I am afraid Wright would shudder to see the clutter of my living space, but I think inserting technology of TV or microwave might fit in well with some of his designs.
Brea, I do have pictures I could share (I'll look into how to share with y'all). Martha, I know what you mean about what FLW would think of how we live in his spaces. I'm sure with his attention to detail he'd find certain things (like dog toys and knitting baskets) an affront to his grand design.
DeleteChapter 2.
ReplyDeleteWhen I started Chapter 2, as I was reading through all the facts and new laws being created, new movements, the price for consumer goods and politics, it never really accrued to me before how much our commerce shifted in the 1900’s and changed toward creating a new industry that was more flourishing and contented than ever before. Of course, reading all this wasn’t a surprise to me since we learned all of these elements growing up, but reading it all together in a five pages really surprised me this time. I really saw and visualized the change for the first time. Now, I feel as if the depression was inevitable since the only way to go when you have reached the top at a rapid pace, is down. “Hand production could survive only as long as it didn’t compete with mass production and mass distribution” (pp.38). After reading all of the rapid change, this statement didn’t shock me much. I was expecting it since our society had a taste of faster transportation with the new rail road and automobiles. Technology made consumer goods more accessible and more versatile with urban modernity. Furthermore, with electricity and the telephone finally making their way around, I could see our society was experiencing a faster, cheaper, mass distribution life. I could have never imagined, without reading Makers, how difficult it must have been to survive economically and happily as an artist in the arts and craft community at this time. However, who would have ever guessed the twentieth century was the decade that ideas and ideals were developed that support the craft industry for the next 40 years with all this mass production change.
What impressed me were the merchant endeavors and craft communities that had established. There was Hubbard and the Roycrafters and Stickley and the Craftsman Workshops. Roycroft had a distinct intermingling of idealism and capitalism with a wide imagination and determination that advocated the arts and crafts. Stickley, that introduced a radical new line of furniture along with many other accomplishments, became forever known as having defined the American Arts and Crafts style, (pp. 39-45). For me personally it was intense and overwhelming the ambitions these artist had in achieving their vision. From design to production and even advertisement by publishing magazines such as the “Philistine” and “Craftsman”, these merchants were definitely inspirational to read about, but at times made me feel like a big underachiever. Honestly, I could never imagine pursuing a dream so massive. It’s sad to think about really, but out of all the dreams and goals I have now, even if only a few, seems really difficult to triumph and at times unrealistic.
When reading about Frank Wright, I could perfectly envision the type of not only architect but person he was. Reading about him actually made me smile. ““Ornament was “imagination giving natural pattern to structure itself””, (pp.47). I love this quote and it made me think of a friend that believes; if a piece of work isn’t beautiful just make it gaudy with whatever ornate pieces you can find…haha. “For one of his most enthusiastic clients, Mrs. Avery Coonley, he even designed several dresses!” (pp.48). You can tell Wright likes to make everything beautiful with his work. I personally loved all of his creations even if they weren’t easy to live with. “If you wanted art for everybody, you either had to embrace mass production or reorder all of society”, (pp. 48). I agree with Wright when referring to this statement. Honestly, handwork was too expensive to fulfill the needs of masses and with times changing to mass production, I feel there was no other way than to accept this and I think Wright did. However, I treasured how Wright contracted out of shops and factories and only produced for one house at a time to avoid mass production; this also impressed me as well.
There is a great documentary on Wright that I found on Netflix late one night. It was four hours long and had me up until the wee hours, but it was worth every minute of lost sleep. It highlighted his relationship with Sullivan as his mentor. Sadly, the documentary didn't paint him as the nicest guy. His singular vision was on his work and that seemed to make him self centered and pompous. Since I really admire the work, I really wanted to admire the man, and like him as a person. The more I watched the documentary the more I realized that it wasn't going to happen. DARN! He sure did leave a legacy!
DeleteReflect on who the great crafts of this time were for...the person buying it? the artist making it? the larger world of art? What is the importance of this history lesson on your art/your teaching?
DeleteIt was interesting to read about how the artists were getting back to their grass roots, and society was seeing the value of things handmade. This only applied to the upper class who were to purchse the pieces, and to see how artists struggled with the costs of their art.
DeleteGail,
DeleteWright is a genius and a difficult person.
There was a book a couple of years ago called Loving Frank. It's told from the perspective of his lover and touches on the aspects of him that were so captivating. You might like it? There is something redemptive there.
The old Dallas Theater center was designed by Wright. Legend has it that Wright would not allow for an elevator to the basement prop room. The heavy sets would have to be and carried up a staircase. The Board and builder, secretly got together and had a service elevator put in anyway but hid it every time Wright came through to inspect.
Whether it is fact or fiction, illustrates an uncompromising sense of purpose regardless of practicality.
One of the ongoing issues within art is "can you admire the art even after knowing the person was not so kind or fair or faithful or even nice to know"? Think about the artists you know. What is is like to see someone get ahead, way ahead, knowing they use and abuse any and everyone in their way. What does knowing the whole truth do to the value of art?
DeleteI think all the data collected about the artist and the context of the work does influence your opinion about the work. I feel like the more knowledge I have about the artist and the story behind the work, the more I can appreciate the work. If however the artist came across snobby or rude in their presentation, it would influence my opinion of their perspective. Since artist are using their personal perspective and displaying them in an artist way, I believe it influences my opinion of the work. Artist can still produce great work, but I might not appreciate it as much for the meaning of it.
DeleteFuture, that is a really good point... "Can you admire the art even after knowing the person was not so kind or fair or faithful or even nice to know"? I think sometimes that can be hard. I definitely agree with Melanie. When reading about Tiffany in Chapter 1, I kind of got an, ehh…feeling about the type of person he was and I saw myself judging his work and felt ashamed of it really. But honestly though, I think sometimes you have to put that behind you and really focus on the work itself and not your perception of the personal side of the artist. If you naturally admire the work then I think you should not hide from those feelings. It might be hard, but I believe that would be the honest thing to do. Also, maybe the artwork brings out of a side of the artist you wouldn’t see without looking and really reflecting on the work itself…maybe you have a bad opinion of an artist and you see their work and you love it no matter what you heard. Or maybe you love an artist and you see their work and all of a sudden you think, “This isn’t the person I thought I knew”….
DeleteGail, I will for sure check out the documentary on Netflix! Thanks for the heads up! I am curious to see what you are talking about. I might not like the fellow, but his artwork speaks to my soul for some reason…haha.
I think some of the greatest minds of our time have had not so good social skills. Maybe a lot of them didnt know how to express their real self except through their artwork? I don’t think we will ever have true judgment about these artists because no matter what we are watching or reading someone else is setting our judgments through their own opinions. I think the only way to really know what type of person they were without knowing them personally is probably looking and analyzing their work for our own opinions because that is probably the closest we will come to their own words.
Gail, I actually own that awkwardly long documentary. Haha, I really was obsessed with FLW for awhile. I think the contrast of his homes with the homes I knew--suburban Dallas of the 80s, 90s--was so sharp that I was in awe of his attention to how everything in a space is related and a great designer must pay attention to it all.
DeleteAnd, yes, it is hard to see the amazing work a person can make, only to learn that as a person there isn't a pleasant, kind, caring bone in his/her body. But I think that great art or great design is still great, even if the person that made it is so terribly flawed in character that you want to dislike their accomplishments.
As I was reading about TECO, I wanted to Google Gates work so I could see some of his pieces since they sounded so memorizing. Lo and behold, I found a silver overlay matte green Teco pottery vase that is being auctioned right now! Its estimate price is $1000-$1500. You can check it out here. It ends on Febuary 5th. http://www.liveauctioneers.com/item/15523356_a-silver-overlay-matte-green-teco-pottery-vase
ReplyDeleteLastly, my favorite part in this chapter was reading about Craft Education. Not only because I am striving to be an art educator, but because reading about the importance and birthing of art institutions in America and the idealism behind it that helped studio craft survive was a since of pride for me. I am not an art teacher but with an art background and working in an education service center with highly respected educators, I have been quickly judged as having a frufru slack off degree since it is in Apparel Design and Manufacturing and Art. At times respect hasn’t been provided and in my setting most of the time my opinions aren’t taken seriously. I am sure some of you that are art teachers have experienced this as well. Therefore reading about the philosophy of Arts and Crafts and the affect it had, not only in helping developing our society today, but in education as well, really makes me proud to be a part of it now, it truly brings tears to my eyes. “Art schools, museums, and the manual-training movement all had the same goal, to improve American business prospects by improving design. The manual-training movement—craft teaching in high schools—inculcated thousands of students with craft skills that they would later turn to as hobbies”, (pp. 83). I will forever take this with me.
Until you posted this I didn't really give TECO much of a thought. But I just Googled TECO and I love the forms. Thanks for highlighting this. I wouldn't have even looked if you didn't mention it. Apparently there are reproductions being made now too.
DeleteBrea, hold on to the histories of each artist...the job you hold or the degree you have is not how you or your art is judge. If you do not make art, think of the publications on art and the wonderful idea of simply promoting beautiful works of art. It is easy to make fun of a degree you have never tried to earn.
DeleteBrea,
DeleteI know how you feel, when you say that you have been judged for having a less than worthy degree. I to have been discriminated against for having a design degree. I see interiors as canvases for my art, it is not just about decorating.
I absolutely agree that it is easy to make fun of a degree you have never tried. I just wish everyone thought the same thing, but that is the real world. It is nice to be in a class like this with people that have either experienced that same thing as I, and that are like me. I think if people saw my artwork and work in general instead of my typed diploma they would have a different outlook for sure, I am curtained about that.
DeleteDebbie, so true! Most of the network guys I work with, I think, they think “Art” is just coloring in a color book or something. I don’t think they realize the most famous artist of mankind were also the geniuses’ of our time as well. They don’t intertwine art with intelligence. Which, theoretically… it takes a genius to understand art.
You know, I randomly decided to type in various names from this chapter into my Pinterest search bar and I found the most amazing things out there. I also stumbled across a few individuals that have entire boards devoted to Arts and Crafts (although some is not just American A&C) and was able to see images other than those in our book. I don't always have the time for pinning, but enjoy being able to "pin" images and websites that I can go back to later. Now as I read I'm making a "note" on my phone filled with the names of studios and artists, so the next time I have some free time I can look up more images on the web and Pinterest.
DeleteMakers: Chapter 2
ReplyDeleteFrankly, I found this chapter a bit overwhelming. There was a lot heavily detailed of coverage of the ceramic/art pottery world, and much less on the metal smiths, jewelers, and glassmakers of the time. I really connected to the discussions on art schools and education since that’s my current world. This chapter made it easy to identify the various philosophies that still influence today’s craft education world.
There were many surprises for me in this first chapter.
• Although I had heard of Roycroft furniture, I really didn’t have the knowledge of it as a craft center or kind of arts community. Its interesting that it really was a model that hasn’t successfully been reproduced in any long term meaningful way.
• I’m still (repeat from my last post…) 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 surprised that Stickley was such a master of PR and marketing. His carefully crafted “story” of the thoughtful, solitary craftsman making hand-hewn furniture, certainly was not the reality of his manufactured process. The Mission Style for which he became famous was notorious for not being a factory made product, but in fact turned out to be. I, along with most other Americans bought into the hype. He (Gustav) surely proved the connection between craft and commerce at the time. My husband and I have very close friends that collect vintage Stickley furniture. I’d hate to share what I’ve just learned, for fear they’d cry!
What impressed you?
• Since I’m a glass fiend I was impressed by Fredric Carder and the beginnings of Stueben glass. I was aware of Carder, but thought his sale of the company to Corning happened much, much later in the century. I was disappointed that war efforts forced this sale, but impressed that he stayed with the effort even under Corning’s ownership.
• Since I’m a studio glassie, of course my interest would flow to Frank Lloyd Wright’s contributions. What impresses me the most about him is that he managed to maintain his versatility as a designer and architect while he worked in so many mediums. The same can be said for Louis Comfort Tiffany. Both men worked in various mediums, producing largely functional items. What I found interesting was that they both became so well known for subsections of their work, which constituted a relatively smaller portion of their collective design/manufacture practice. (Ex. Wright’s windows and Tiffany’s lampshades.)
What are you carrying away with you?
Although I’m a modernist, and a lover of the Bauhaus style and all things Eames, I really do have an affinity for Prairie, and Bungalow art and architecture styles as well. I didn’t know anything about Greene and Greene. I’d love to see their work in person. I’ve always been a lover of art jewelry, so I’m looking forward to seeing more discussion of that in upcoming chapters. Mostly, what struck me in this chapter was a sense of bucking convention by so many of the makers of the time. I personally think that stretching the rules, and trying new approaches is what furthers art and craft. It’s partly why I went back to school, as I knew it would stretch my thoughts and approaches to my work and my teaching. I know it has changed both!
Gail, each chapter varies between the 5 mediums. The book tries to show how each form has had times of great importance only to lose favor within a short time. I agree about the concept of the art of newly freed slaves. Their story is an important part of our history as is the story of Mexican Americans, Asian Americans and all the other wonderful cultures that now call this place home. I think the book is trying to give a overview of what was seen at the time, not what should have been seen.
DeleteGood work.
I'm right with you on being most interested in the education section of the chapter. It's interesting to see the changes the education system has made but also how some things haven't evolved through the years.
DeleteIt is interesteing to see that some of our current philosophies on art and education, are not new ones. THis book has been an eye opener for me, for I never new how the Arts and Crafts movement was socially based, and was such a large movement that affected all trades across the board..
DeleteGail, I had the same outlook on your surprises and impressions. I also was surprise by Stickley and Hubbard for their PR work. I couldn’t imagine having such a widespread business and handling everything myself. That took a lot of dedication and passion for sure.
DeleteI was also impressed with all the mediums they used. For some reason I think if you have a passion for one of those specific mediums you will have an interest for all. Or at least that is how I feel. I am interested in all of the mediums, a little intimidated by a few and haven’t tried a few but certainly interested. Maybe I am just attracted to “craft” no matter what medium it is…lol. Maybe that is how they felt. They wanted to dip their toes in all of the craft mediums…haha.
I really enjoyed the ceramics section, but that is probably due to the enormous amount of clay I took in undergrad. It was nice to see familiar names pop up and because of my experience with throwing/mixing glazes/firing pots I found the discussion quite interesting. Although I know historically most ceramicwares were made by one person throwing, a separate person trimming, separate person glazing, and separate person firing, it was very weird to read about many potteries had an individual who threw, while a whole team of ladies decorated the pots with slips and glazes. And a chemist on staff! Today most clay artists do it all, so it seems strange to think of a pot as a collaborative work, rather than one artist's execution.
DeleteYou bring up a good question for thought...how do you, and I mean each of you as individuals, think about the concept of collaborative art? What when only one name is given to the work of art? Do you accept help with your work?
DeleteThe question of collaboration is often something students asked me about when I was teaching. WHen they found out that some artists had assistants and did not do all the work themselves it bothered them, kind of like they were cheating. My daughter was in the magnet arts program in high school in Richardson, and she was very reluctant to use any "found" images even in a collage. She wanted to photograph her own images. I think part of this was the stress on original work and citations in her academic courses to avoid any chance of plagiarism.
DeleteI like the idea of collaborative art and I think the process in collaborative art can make it so meaningful in a different way than an individual working alone. In the arts and crafts movement to me collaboration made sense as in many of the shops it was the collective working together to keep the shop going. But collaboration in the shops also should of included the possibility of the "workers" sharing creative ideas in the process, if they wanted to. It was more of a business model in most cases . Those who felt they could not be creative (and had the means) moved on to create their own business.
I love collaborative art--it speaks to differing personalities coming together to problem-solve, design, and build. What I find unappealing is when one person takes the credit for a group's work; even if they are "nothing" interns or factory workers, I'd like to know what hands created the work.
DeleteI couldn't help but think of Thomas Kincaide throughout this chapter. So many in the art community loved to hate him/his work, as they say, because his "paintings" were simply serigraphs that were "hand touched" with oil paints in Chinese factories. I didn't personally care for his work, but part of me thought, "Smart guy, the people buying his work lack the art knowledge to know he didn't actually paint each piece. Hello, big bucks." He figured out how to get rich. I don't think I'll try that method, mainly because as I make work I want to educate those that come in contact with it; if they don't know the casting process, I want them to learn and appreciate how things were made.
Chapter Two contains ample material covering plentiful interesting personalities (George Ohr a personal favorite), however two themes, interrelated, kept glaring out at me throughout the whole chapter, and even some of Chapter One. Arts and Crafts artists seemed to struggle with the idea of business and art existing in the same space; today's artists even have a suspicion of "commercially successful" art makers. Tied into this discordance of business and art are the elements of who to hire and how to make unique, authentic art that is also economical to produce.
ReplyDeletePage after page of Chapter Two lists artists, communities, and societies forming, growing, and--inevitably-failing. The success stories--L. & J.G. Stickley, Tiffany--are few; their common strength lying in adaptability to changing tastes and times while continuing to provide quality products. Logically, I realize not all business formed have the business plan to obtain longevity, especially amongst the economic upheavals 20th century America rode through. Yet those in the Arts and Crafts movement tend to ignore the business concept of profit, or pooh-pooh an arts based business that accumulates wealth. A business that operates in a socially conscious manner is an admirable business, but a business that operates contrary to mathematical reality is certainly doomed to fail.
Although wanting affordable art for the masses, the leaders of the Arts and Crafts missed two elements of attaining the goal: affordability in the end product and equality in designer/laborer. Chapter Two contains gorgeous examples of amazing craftsmanship in wood, ceramicware, metals, and jewelry; unique, one-of-a-kind artworks. The time taken to craft the work and the materials used in the making both ensure that the end result must be valued too high for anyone less than the wealthy elite to afford. The artisans--and artists of craft today--are trapped in a limbo between a grandiose goal for quality, aesthetically strong goods for all and the economics of production. Either one compromises on quality of materials or on monetary compensation.
There's also a struggle in Chapter Two concerning the labor force that made the work. It is interesting to watch the discussion of women in the crafts field, eventually breaking into the male dominated labor force. Equally as interesting is the idea of a "robot" labor force ("don't worry, they're artists, so it isn't a factory"). Ellsworth Woodward of Newcomb Pottery was not concerned whether his students fully understood ceramics--he simply wanted a labor force to churn out pots. We see this attitude again in Ralph Whitehead; his goal was to set up a utopian craft community that produced quality furniture items. He hired local carpenters, skilled workers, but didn't allow laborers to design. As an art educator, the idea that a laborer cannot also design just doesn't jive; as we teach our classes we realize not all children will grow up to stun the word with amazing artistic wonders, many will only be visual consumers and commentators. But we know that they all can learn fundamental art and design practices. Later in Chapter Two, we see a change in this attitude as arts education begins to build on the idea of direct experience, the building of art knowledge through exposure to art experiences.
I'll be watching as the upcoming chapters unfold to see how the Arts and Crafts movement progresses in these areas; will profit still be pernicious? Or will profit become the means of business advancement and expansion? And how will the movement handle the issue of an educated work force? If we are pursuing the goal of a joyful, edifying field of work, will that be for all (including the "robot" workers) or just the lead designer?
Emily
ReplyDeleteYou did a good job of summing up the chapter. Now can you share with us what surprised you. what impressed you and what you are taking away with you based on the readings. I asked this because I am curious as to your impressions/your thoughts/your opinions on the information. I know it is different that many classes but this approach will aid you when you have to write your final paper.
Just above (on Gail's post) I recently replied a little towards what surprised me from the chapter, how the ceramic work isn't the result of one individual's labor, but a series of people. Traditionally ceramic works from Japan, China, Africa and other regions are made in the same way, with parts of the production divided up amongst individuals. Maybe that is what defines craft? That in the end it isn't always important who did the work, but that the work was done and a object was "born." I think of items within my family, such as furniture, braided rugs, and metalwork, that were created by past relatives. By this point the items are so old that no one really remembers who actually had a hand in making it, but the generations today enjoy having the object, for it's family historicity and aesthetic. We value the walnut drop-leaf because of it's craftsmanship and gorgeous wood, regardless of whether one person made it or each part was crafted by a separate family member.
DeleteI find it surprising that time after time, when the objective of these artisans is to turn out creative, original work that is NOT mass produced, the owners of the potteries/craft guilds opt to limit the creative work for only the top and have essentially a factory of people crafting the wares. Yes, I believe that these works have artistic merit, but I'm confused why creative license wouldn't be given to the artisans on staff. Those establishing the potteries and guilds are artists themselves!
I found it interesting that even when a woman established a business, she would hire men rather than women for the production work. For example, Clara Welles and the Kalo Shop. Kalo began as an all female shop, that morphed into primarily a metals shop. I totally understand though that she would be looking for experienced craftspeople--who at that time were "craftsMEN." Many cultural "norms" for that time probably also contributed to women not being hired: home life expectations, the "appropriateness" of certain jobs outside the home, and access to the education/experience for those types of labor-intensive jobs.
My takeaway from this chapter: "specious originality." I'm trying to think of how I can incorporate this phrase into my day to day life! Haha, I don't know if anyone has noticed but I love words. "Specious originality" was mentioned a few times within this chapter and I couldn't help but get a little tickled. We definitely all try to be original with our creations, but at this point in human history "there is nothing new under the sun." With that in mind it is interesting to think of "stealth originality" or "deceptive originality;" artistans, or whomever, creating what they know is not original, but packaging it in such a manner that it deceives, even pleases, those that see it.
One of the things that surprised me was seeing Frank Lloyd Wright’s name while reading about Arts and Crafts. I never saw architecture as part of arts and crafts. Upon reading more about how his works were influenced by the movement, I realized how the arts and crafts also apply to design and ornamentation. I also didn’t know he created furniture. I found it interesting that he sometimes designed the whole house: furniture, building, and all. Mercer’s thoughts also surprised me. As I read in page 54 his thoughts on crafts and fine arts being “inseparable,” I made the connection to the earlier readings on Morris in Chapter 1. Morris also believed that the fine arts should be one with decorative arts. Another thing that surprised me was Robert Jarvie: “hobbyist turned professional.” I think this reiterates the idea of the earlier Arts and Crafts movement of not necessarily having to be born artist but using your creativity to create something of value. Jarvie taught himself metalsmithing just as other arts and crafts artists before him were self-taught.
ReplyDeleteReading that women also played a big role in the arts and crafts movement was also very impressive, especially reading about those women who starter their own companies. What did surprise me, though, was that even though she taught many women she mostly hired men to work at her shop. The book states that many of them in turn made their own shops and continued the style. I wonder if it would have been the same turn out if she hired women or even the same women she taught. Or maybe she did that so the students could gain a different perspective from other craft artists. I thought that was a surprising point the book pointed out.
The arts and crafts communities remind me of the Amish and Mennonite communities. Is this how they began? I don’t know much about them but I know they mostly work with their hands and rarely use machinery, their lifestyles are simple, and mostly keep to themselves. The thought came to my mind as I read page 77 where the text states that Radcliffe and his wife wanted to create a community of artists “devoted to simple life of farming and making art.” When I was younger and growing up in Mexico, I remember there was a certain time in the year when the Mennonites would come into the city and sell articles they made. Sometimes they were wooden crafts, furniture, or cheese. I thought of this as I read about Radcliffe’s artist community and how he thought of creating crafts to sell and make profit to support the community.
What I’m taking from this chapter is Ruskin’s idea of training the mind and body when educating others. I believe this is something I can put into practice in my teaching. Also Ralph Waldo Emerson’s thought on education stuck with me. “We are students of words…we come out at last with a bag of wind, a memory of words and do not know a thing…” is a fair reflection of most people’s education even now-a-days. My mom used to tell me that when she was in school she just had to memorize and recite things back to the teacher. It wasn’t until she left school to start working to help her family that she learned the skills she was just reciting in school before. I keep reflecting on these chapters and tying them to my teaching in the public school system. I believe in teaching the student as a whole and not just in academics and this is something that Art can help them in.
I have heard of the Shakers too and how they have craft communities in making quilts and furniture. Here in Amarillo we actually have a highly respected furniture store called Rockwood Amish furniture and it is all handmade. VERY expensive but they are thriving here. Their pieces are one of a kind and very beautiful. I am not for sure how they got started as well. What made you think of that Rebeca? Just out of curiosity. Very good resemblance.
DeleteI goggled it and it was interesting to find out that the “Old Order Mennonites” which is the group that started living without advance technologies was around the time of the craft communities. Very interesting. Maybe their thought process was the same as Ruskin and Morris and didn’t want to be involved in rapid industrialization and urbanization therefore they started the Old Order Mennonites.
http://christianity.about.com/od/Mennonites/a/Mennonite-History.htm
http://en.wikipedia.org/wiki/Old_Order_Mennonite
Rebeca, Arts and Crafts style homes are my first introduction to the Arts and Crafts movement. One of my uncles in Omaha has restored two Arts and Crafts homes (1898, 1911), one a bungalow and the other a larger wood-clad two-story. I absolutely love both homes and know how much of a labor of love they can be; there's a lot of wood to upkeep!
DeleteFunny that Mennonites come up! My maternal grandmother's side of the family were Mennonite immigrants that came to America in 1868 to escape religious persecution. Originally from Germany, throughout the late 1700s/early 1800s had made their way into Russia, then eventually America. Both her family and my maternal grandfather's family were carpenters and farmers, who lived lives that were self-sufficient within the Mennonite communities. My grandpa is now 86 and still creates walnut and oak furniture in his basement. I'll have to somehow share some photos of the pieces I now have in my home made by him and the generation before him.
I noticed Emerson's quote as well, read it to my husband he does not have too many fond memories of school. So much of school (college courses included) is still rote and rephrasing what one has just heard. When you do it for a long time it is hard to think on your own and that is the problem we having in some academic setting now. Students can test but not think.
DeleteI agree in art class students have a chance to show what they are and feel instead of what we think they they should know and feel.
Rebeca,
DeleteThe info on the mininites is worth looking into. It also interested me that artist colonies stimmed back to the early 1900's, it seems like a 20th century movement.
Good point concerning the Amish and Mennonite communities. I really do not know. Does anyone have more information?
ReplyDeleteI have a little information on the Shakers (around since the 1760ish)--since I went to college in Appalachia. There is a strong craft/ religious element in that region. There is actually a very cool college in KY, which takes only students below the poverty level and trains them in a craft. It is called Brea- another fun tidbit.
ReplyDeleteIts all part of this movement of usefulness and "god's work".
I forgot a letter Berea
Deletehttps://bereacollegecrafts.com
Oh, I was about to say, "well thats ironic", haha.
DeleteI have been really thinking about his question how does art history affect my art and how does effect my teaching.
ReplyDeleteRemember I come from a big Italian family --art history and art practices are part of my "family." It's like I am introducing old friends to new ones. "Here is my friend, Cecelia Beaux, you might like her because she paints like someone who ices cake with frosting. I will tell you more about her later."
Surprises
What surprises me most in this big, thick book is that I have imaginary conversations with the author. I am surprised at what was edited out and what was left in. Some are curious choices to me.
I talk to her about Dow before she writes about him and wonder why she didn't mention his widely published book with Marblehead Pottery, as a possible design resource since clearly Newcomb was using it and he was in nearby Ipwich.
I look up the census report from 1910 defining urban--2500 incorporated was urban. I want more pictures--I find myself relooking up images.
Shakers
Sometimes we forget what we had here in the United States. By 1780,
we had Shakers and Shaker communities with simple lines and clean spaces. They believed in equality of sexes and had more than 20 settlements. Believing each work was an act of prayer, it is like the Greek icon makers, who still have to make a religious vow to work on the images. Shakers were hugely influential not just in design and craft but in music and industry. They invented the circular saw and clothes pins, flat broom and wheel-driven washing machine.
Since I actually, enjoy our American vernacular, I am reminded about the great shoulders we stand on.
Page 80. Craft in Higher Education.
Women!
The Pennsylvania Academy of Design was founded 1805.
Eakins was a proponent of life drawing. In 1860 women could take Anatomy. In 1866, they could draw female nudes and in 1872 women could draw men. Women taught at the academy. Catherine Drinker was the first woman to teach in 1878, her cousin and pupil was Cecelia Beaux, one of my favorite painters.
A tale from Bernard Berenson tells us of an exhibition. One patron commented on all the works, "The ordinary ones are signed John Sargent the best are signed Cecilia Beaux"
It certainly has effected my practice.
I have Thomas Eakins drawing book and practiced from it.
Luis Vaderama, my mentor, born in 1914, taught me the old ways- and to be interested in technical aspect of all art--from outsider to cave painting.
Big Family
American 19th century, was my area of study. When I worked at the Smithsonian-it was the National Museum for American art.
These 19th c. artists and craftsmen are so human to me. I had lunch with their work everyday I knew what inspired them.
They are part of my big art family and I just know everyone will be able to connect to one of them.
I too want more images and can actually see a book from each chapter. And that is how big the book would be with more images. What is amazing or sad is how few of these images are in a traditional art history book.
DeleteOh I agree with you on that Future and Lynn! More pictures indeed! If there wasn’t a picture and I was trying to visualize it, I would google it to see if I could find anything too Lynn. I also loved that women had a huge part in the craft movement. It made me giddy reading about it all. Maybe women in the craft movement paved our way to vote! You never know!
DeleteWomen had such freedom is creative places --it must have lead to the vote!
Delete
ReplyDeleteChapter 2.
This chapter was so chock full of individuals starting their own craft workshops and communities that at times I wished for a timeline. I wanted to see the overlap of the different craft communities and shops to see more clearly who knew whom and when they worked together before starting their own workshop. It almost seemed like a mini version of a craft movement Downton Abby with the collaboration and sometimes intrigue over who owned what glaze formula.
Reading about Elbert Hubbard and the Roycrofters was interesting, as my mother had several books that had been her fathers and are now mine. Most look like fancy scrapbooks and are full of quotes that Hubbard thought were noteworthy. It was fun seeing the facts about him and the promotional skills that helped establish Roycroft. I had no idea that Hubbard was so involved in the crafts movement through Roycroft . I am going to look at these books again with more interest and appreciation, as Hubbard really had quite a following. The books are beautifully bound and still in good shape.
There were several WOW moments in this chapter, especially since I had not taken any courses in the history of Art Education. I was amazed by the Drawing act of 1870 in Massachusetts and how very progressive and surprising to have had a state mandated art program so long ago.
I found it interesting how certain skills were in style and considered art, but then lost the “art” status when the definition was changed, such as in china painting. In the discussion on Adelaide Alsop Robineau, her shift from china painting to “mastering “ the wheel let her maintain an artist reputation. This shift demanded that an “artist” understand and have full knowledge of a craft. If one was only a skilled china painter but could not create the vessel the work would basically lose points at the exhibitions. It seems a real division developed between an individual being a decorator or considered an artist. I am uncomfortable with this shift as both require such artistic skills.
George Ohr was intriguing as he used a variety of glazes and clays and he also had such an interesting and perhaps confrontational attitude. I enjoyed that his “sense of effortlessness offended his peers” and I was also laughing at Ohr’s sarcasm in the comment he posted next to his piece at a show, “It don’t take a doz to accomplish art pottery”. I imagine that Andy Warhol would have enjoyed Ohr’s attitude as well. (page 62, 63).
Another artist whose attitude and style was exciting to me was Henry Chapman Mercer. Part of my appreciation in Mercer was that he was not so hung up on perfection and found “finger marks, color variation, slight differences in size…” ok. This was of course not the going philosophy but I just loved the tile work depicted in the text, Reaping with a Sickle. Its deceptively simple design works so well, like a good print. I was impressed with his use of cement and was also interested that his use of it was unusual at that time. Part of what I carry with me out of this chapter is that I should not let my imperfections keep me from creating and learning.
The Kalo shop was in existence till 1970 (wow). Clara Barck Welles really established a shop that stood the test of time even after she sold it. It was strange to think it closed up because of lack of silversmiths. Her personal interest and dedication was like many who started communities for crafts, it seemed to be what gave meaning to their life.
There were so many interesting aspects to the chapter and the art communities that I did not dwell on the lack of women in many of the programs, even though some were started by women. Women eventually embraced and took advantage of the educational programs later established. The establishment of schools at the end of the chapter encouraged people to make art, thus making their lives better and perhaps more beautiful. This perpetuated training in the creative arts that we still see in some areas today.
Martha I assure you this book is nothing like any history of art education I have read. But I agree I love learning how there were schools of crafts and schools of learning outside of public education but open to the public.
DeleteAs for china painting, this history and the fact that china painting became a hobby for little ol' ladies ( my grandmother was a wonderful china painter, filling our homes with roses and wild flowers on plates/cups and platters) is why Judy Chicago's choice of china painting is considered so radical and was a wonderful ode to the history of women.
Chapter 2
ReplyDeleteLike several others I found this chapter a little overwhelming with information. There are so many notable figures and communities, and the information so extensive that I struggled to keep everything in order. The suggestion of a timeline would be very useful as a visual aid, especially for someone like me who is a very visual and hands-on learner.
Several things surprised me in the chapter. First was learning about Hubbard and the Roycroft community. Seeing someone who was predominately a writer and interested more in literature than art turn and create a community for Arts and Crafts was interesting to me. Hubbard began an accomplished ideology for craft and set a standard for others to follow or attempts to replicate in the Arts and Crafts movement. Roycroft produced successful artist from unrelated fields of work, or people that had no formal art education like Karl Kipp.
The second notable thing to surprise me was to see Frank Lloyd Wright in this chapter. I have always noted him solely as an architect and admired his attention to detail in every aspect of design and continuous motifs. So it should come as no surprise the influence he held in the arts and crafts, but none the less I was a little taken back. I did find the section about “Wright and the Machine” make a point that I have struggled with as an artist. As an artist I want two things ultimately. One is that I want to share my work with the world. I want every person that wants access to my work to have it. The second is I want my work to be profitable. Wright says handwork is too expensive for the masses and that the machine was the only way to achieve high quality goods at a relatively inexpensive cost. This offers a solution to my dilemma in that mass production with the help of machines can be lucrative. But at what cost? As a sculptor I enjoy working with my hands, and I hold a certain attachment to each piece I create individually. It is unique. But machines don’t offer that touch if you will.
The last thing that surprised me, or more so impressed me was seeing William Gates and Teco in this chapter. This wasn’t a shock so much as it was a pleasant surprise. The Teco forms were a huge influence for me a few years ago when I was working more with ceramic and pottery. Though I have set clay to the side as a medium, the forms have played a major influence in my work.
Walking away from this chapter I have learned quite a bit about the history of craft in America. Communities like Roycroft are so intriguing to me. Also as an MAE student the sections on education proved valuable. Seeing Arts and Crafts as a movement that helped reform education is not a view I would have held before this. The only way to develop artist is to introduce people to different trades and from there one can develop their craft through working in their medium. Creating a formal way to educate people about art, even the smallest exposure, can spark a creative genius in an individual.
Welcome to the class Stephen.
DeleteThere is a reason that artists that work in bronze make editions of their work, they have learned how to make a living at their craft. Even when that craft takes the help of a foundry. What each artist has to decide for herself or himself is do I make one of a kind or do I find a way to make copies (under my control) of this work. I have a friend that makes very nice poster like reproductions of his paintings...affordable and smaller to aid in accessibility and actual ability to hang in a normal home. Think about the size of most art today. It is intended for museums with 12-20 foot high walls and no furniture. Or in sculpture it may be intended for an outside installation. How does the average person display that?
So the question comes back for whom do you intend your work? Or what is the intent of your creativity?
I also thought a visual time line would be beneficial, since I am a visual person as well. We should all create one together to keep with us for reference!
DeleteI agree with your handwork vs. mass production dilemma. However, if you were to receive an order for example: 100 pieces of work that wasn’t made yet and needed to be done in a few weeks… could you produce that handwork for your clients in time? I think it would be incredibly hard to meet those expectations without the help of a machine or multiple people that work like a machine. I think something has to give a one point. Either you have to turn down clients in order to focus on the orders you already and not get piled up, or hire extra help. I guess in reality you have two choices, you pay more for extra help or machine production to serve anyone interested in your work. Or, you only take small orders at a time, even if that means turning clients away in order to meet your production time frame and handwork expectations. Either way, I think you will lose some sort of profit. I guess it all depends on what matters most to the artist and what type of artist they are.
Future had a really good point… “What each artist has to decide for herself or himself is do I make one of a kind or do I find a way to make copies (under my control) of this work”.
It certainly depends on the type of artist you are and what is more important to you. Too bad we can’t clone ourselves and have both! That would be ideal… :)
Very true! Especially when I teach, my students have a hard time coming up with something original because they want to see my example. When I tell them there is no example and they are free to use their creativity, some of them are excited while others just look at their neighbor's work and copy. I encourage sketchbooks a lot and remind them to refer back to them when they get "stuck."
DeleteWhat surprised me?
ReplyDeleteWhat surprised me the most was the reform movements that were sweeping the nation at this time. Reformers believed that the problems of society were as a direct result of industrialization. Several things that helped to motivate this reform: one was the social gospel, which believed that it was every Christian’s duty to help society from its ills, and the other was the social sciences, which believed in the laws of nature helping to improve the human condition. The reformers saw the value and need for industrialization, but wanted to reform some of the problems associated with it. These problems included poor working conditions, the lack of physical activity, the need to be on time, and stress. People wanted a change with an emphasis on introspection and self-fulfillment. The Arts and Crafts movement helped to fill this desire among the upper class.
What impressed me?
There are many things that impressed me in this chapter, but the one thing that impressed me the most was that of the Mission style, which became the dominant form in the American Arts and Crafts furniture. The mission style is simple in form, with reference to American history. Americans had a desire to feel connected to their native tradition for design reform. The Arts and Crafts movement fulfilled these need due to its “honest use of materials, revealed construction, and inspiration from nature (p.50).” The emphasis on all things handmade also meant moving away from painted surfaces, and the use of local materials and local character in decoration.
What are you carrying away with?
One of the things that I will be carrying away with me is the focus of Arts and Crafts in higher education. The need for advanced training in America was as a direct result of the need for advanced training in design. The Massachusetts Drawing Act of 1870 mandated free instruction in mechanical drawing in public schools. It was the first art education program in the country. Some teachers believed on the emphasis of job training, and others placing beauty as the driving force through direct making of art (moral environmentalism)as a way to improve society. That art was one of the few educations a woman could receive at this time.
Debbie
DeleteHow were you taught art?
Future,
DeleteI am not sure what you are asking, or why. I was taught art from a visual hands on approach.My history of art, was centered around interiors and furnishings.
Debbie, I often ask very open ended questions as a means to push each of us to a new understanding of who we are / how we are. What I meant was simply that how we were taught is often how we teach, no matter what our degree or our job. For example, I was taught in a very non traditional way. I was doing pastel portraits as a 3rd grader with a private teacher. I did my first oil painting as a 5th grader. As such, I expect the most of students and get very sad with I see watered down lessons. Or tempera paint used for oil paint.
DeleteThe point of the question is to reflect on what you learned in terms of crafts/ history/ technique.
It was not personal aside from asking you and each student to just take a moment to remember how they came to art. I believe that we understand what worked for us we can "see" that is only one way to learn, and just because it worked for us does not mean it is the only way.
An example is that you do not need to know how to draw to throw a vessel. It might help but it is not necessary. Yet, we require drawing before clay.
This is eye opening, Future. I never thought of it that way. It's true, I think we do tend to repeat what has been taught to us in the past and most of the time we, or at least I, don't explore other ways to teach a certain topic.
DeleteThat is an eye opener for me too. I have never really thought of that. I was really lucky because all of the art teachers I have had taught me with love and freedom and allowed me to represent who I was as an artist. The first art teacher I ever had was my father. I remember him teaching me how to draw a fire truck when I was in the first grade. We were drawing it for a parent/student contest at school for fire safety. It was on a big poster and I remember that he showed me how to draw shapes in a new perspective that I never saw before and something just clicked. It seems like yesterday really. After that I was obsessed with seeing objects in different perspective and my love for art kind of blossomed. It is ironic the memories that stay with you as you get older.
DeleteThis is the timeline for the Wallace grant given to Big Thought funding art instruction in Dallas Schools (I think it actually read all Dallas children-but I am uncertain) Its a remarkably similar to the 19th c goal above-- (there is something character forming and society building in learning a craft).
ReplyDelete2006: The Wallace Foundation grants Big Thought $1.06 million to plan a city-wide arts learning initiative. Big Thought is recipient of a U.S. Department of Education grant to train arts specialists as arts integration resources.
2007: The Wallace Foundation grants Big Thought a three-year $8 million grant to implement a citywide creative learning system now known as Thriving Minds. Big Thought Endowment Fund is established. Big Thought publishes More Than Measuring, a book outlining the Big Thought philosophy and methods of assessment.
2008: Big Thought receives a $2 million grant from the Texas Education Agency to launch the Thriving Minds after-school program in 20 Dallas ISD schools.
Nice money but how was or is it used? Are teachers allowed to attend classes on learning or re-learning crafts? (Of course I am thinking of Junction here). Are artists invited into the class to discuss their methods in workshops? Are kids given more than 45 minutes in a day, in a class of 25+ to work on and develop their craft.
DeleteI do not mean to rant but I have seen so much money wasted and so little support for teachers. Not to mention actual thought to the classroom environment (size, large spaces to work and leave works out to come back to, storage and in general anything above the normal "put them in art if you can not find anywhere else for them". I love the concept of every student having an opportunity to work in art if this is supported by more teachers and more room.
I am interested in exploring what Big Thought is doing. I know when I volunteered recently with the DMA at an elementary school in Dallas, Big Thought was doing some after school activities and I did see a local artist working with the students. But I know in some north Dallas school that I have subbed in there are 30+ or - students in an art class and that makes it challenging.
DeleteArt News has an article in the February issue call "A Teaching Moment" by Hilarie Sheets about a program called Studio in a School, which sounds very effective. It highlighted schools in New York that are working with grants but the schools have to come up with some funding and I believe it has been working since 1976. Artists and teachers are trained to incorporate art in the curriculum and work with the students. Key is the artists involvement. Like some of the school we read about in the last two chapters some classes are based out of museums.
Is Big Thought like Sydney Walker's "Big Ideas?" At UNT one of our go-to texts (I highly recommend) is "Teaching Meaning in Artmaking" by Sydney Walker. Another 5 out of 5 stars books is Donna K. Beattie's "Assessment in Art Education." Both are by Davis Publications:
Deletehttp://www.davisart.com/Portal/TeacherResources/ArtAdvocacy/Themes-in-Art-Education.pdf
I can get you all that information. It is actually pretty specific. The goal was to make art flow like water. They began with 3 hub areas in Dallas--those with the fewest social services (my neighborhood and high school were located in one of the three: East Dallas is very mixed like New Orleans in a way). With the Wallace grant Big Thoughts really moved art back into the schools --elementary schools are required to have a certain number of art education hours each week. I think each campus must have an art teacher. Big Thought created after school programs in 39 campuses--8000 students. It's really a great organization--and they are always looking for art educators (my fellow Dallasites might be interested--I am happy to help if you are).
DeleteI can find out about teacher continuing ed. That is a brilliant idea--what a nice dovetail.
DeleteMakers: chapter 2, 2nd half
ReplyDeleteWhen reading about metalsmithing, I pondered what the difference is between silvermithing and jewelry making. Working with metal seems like a difficult medium to work with. I suppose it is very similar to glass making although more control. Like glass, metal works do not need a lot of detail to be beautiful, the shine of the metal embraces the sculpture. In Gorham Company' silver plater, the metal has a liquid texture to capture the essence of water. I enjoy the movement of repetition in the rings of the water.
Further in the chapter when it talks about glass, I was inspired because of my experience with glass. Tiffany's vase in figure 2.36 on page 73, is beautiful. I have an appreciation for its form and color because it must have been difficult to make. It did not state if it was formed in a mold or by free hand.
In the Arts and Crafts Communities section, I really enjoyed the quote about living with art. " The furniture, pottery, and jewelry left behind testify to a moment when a few American passionately believed that well made objects could produce a well made life" (p.79). I could not image life without artistic objects. It seems me enjoy the details in life of the objects around me.
Melanie, I also love artistic objects around me. Especially in my own spaces; like my home or office. I feel like they are alive and have their own stories to tell.
DeleteI also appreciated the idea of art being equated with a well made life, but also was dismayed by the moral attitude of Calvin Woodward as the text said "He equated good work with self-discipline and bad work with dishonesty and slovenliness." (p,79)
ReplyDeleteThe fact that tax payers saw trade education as a positive so employers would have an employee pool that was ready to work, was interesting as well. These trade schools seem to be, to business men and women the new technology in education. In the 19th early 20th century there was hope that these schools would have the potential of creating better more compliant citizens. Though the trade school were ground breaking it seems the creative goals were still mostly open to the wealthy.
I found that interesting too: that schools were teaching the trade yet it seemed like only the wealthy or privileged were being given the jobs of professors or teachers.
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