This is a short chapter but it is filled with subtle hints that influence art today. First always keep in mind who is considered or written about and who is left out. What are the issues of race or class? Consider the concept that folk art is to craft as craft is to fine arts. How many ways do we as educators or as artist divide or make critical decisions based on a bias.
Also, in this chapter there is the further discussion on art as healing or occupational therapy. How does this play a part in your art making or teaching or outreach. Remember in Chapter 2 the Saturday Night Girls Club (ceramics for young women immigrants)? The rest of the story was a motivation to keep these women off the streets and away from prostitution. Can art save lives?
As we read each chapter compare this information with what you were taught or never taught, does the new information make a difference in how you will work? An example would be the rise of needlework...who even does needlework today?
A final question. Furniture continues to play a large part in this time period so what is your favorite chair. Not from this time period but in your studio or home. The chair you dream in or sketch in or take a nap in.
Comments about chapter so far:
ReplyDeleteWhen reading about the Armory Show and all it's new stage artwork, I was not surprised to come across Marcel Duchamp's name. I remember my studies during my undergrad about him in Post Modernism. However, I am surprised to see him so early in history, I was thinking his work was not until the 60s. I was intrigued to learn of his brother. I did not know he had one and an artist at that. After looking up Jacques Villon on google, I learned that the Duchamps' come from a family of artist. I wonder what influenced this? Like Marcel, he had variety of different work from cubist to stained glass. I also came across his lithographs. My first impressions were they look very similar to Henri de Toulouse-Lautrec's work, if not appropriated. I remembered about Marcel's work being questionable and wondered if Jacques was doing this on purpose. However, after further research, I found put that he worked along the side of Lautrec. suggest that if you are not aware of their family to look them up, very interesting.
http://www.jacquesvillon.info/jacques_villon_works.html
Right after the Duchamps', the reading discusses another name, Marguerite Zorach, on page 86. I was interested in finding out more about her after reading the quote, "the crowds piled in and out day after day-some hilarious-some furious-none indifferent" in describing the Armory Show with her husband. Therefore I looked her up on the Internet. Her hooked rugs are so phenomenal that she is not represented accurately. The rugs are so detailed, it is hard to understand that they are rugs. In a blog, they further discuss her work and question her connection to art or craft. I also appreciated to read abut her feminist approach. http://redjackrugs.blogspot.com/2010/04/textile-artist-marguerite-zorach.html?m=1
Melanie, I totally agree that Marguerite wasn’t represented accurately. I have studied her before and I was disappointed that there was only one photo to showcase her work in the book. The range of the type of embroidery, theme, technique she did was huge and each piece was so different I wish the book showed a variety of her work.
DeleteEven though Zorach only had one piece shown in the book and her information was limited, she really stood out to me in contrast to all the other work in the chapter--and all the textile works from previous chapters. I think it was the coloring (brighter and more pure in hue) and the overall design of the work that made her feel so modern compared to her peers. I wish there was more information and certainly more images of her work; thank you for including the blog link, I will start there for more information.
DeleteInteresting link. I like the extra tidbit of information!
DeleteDuchamp would be mentioned as a vital influence on post modernism because of his anti-art works. His most infamous work was during the Armory Show (1913). Think about your classes (those you took or those you teach) and that moment when the rules are abandoned or shattered in a surge of creativity...that moment when what is expected is lost and the unexpected is celebrated. That is the power of the Armory show...or at least parts of the show. Remember small children and women expecting were discouraged from attending.
DeleteAgain, how do you, as an artist and an educator, respond to hooked rugs or embroidery? Would you ( and this is for everyone) allow that in your classes in your studio?
As far as teaching embroidery or textiles, I do not see myself doing. In my personal experience, I only have a few things that I have worked on. I have made clothing by hand sowing clothes when I was younger and took a weaving coarse at UNT. However, in my advanced art class, there has been students interested in making a dress or skirt. I know the Elementary art teacher teaches weaving with hats. I think in a younger age it is more appropriate to teach more crafts.
DeleteIn my studio we have recently taken a look at every workshop we offer and tried to integrate mixed media approaches to the skill base. Integration of multiple mediums into a whole can enrich the students. the program, and ultimately the work. We recently added a glass class that literally sews pieces of glass together.Textile work is very important at the school where I teach. We have weaving, fabric design, and more!
DeleteBlair
DeleteI would guess that the crafts taught at the elementary level are so watered down they like connection to a craft. Cut construction paper used for weaving small 8x10 works. Pinch pots for clay.
Think back on your experience with glass...how could a younger person do that...yes I know there are 10 year old glass blowers around the world but think about the art of the craft. Think about James Watkins as he throws and the thought process he puts into his work.
Maybe what should happen is for art teacher to be allow to set their own curriculum. What about co-teaching with the wood shop or the auto shop...what would happen if from middle school on students were allowed to work with the "real thing" and have the time to perfect their skills. What if a project took 6 weeks or even a semester. How exciting to see someone working at a high level of confidence on a project vs. the speeding through assignments because we know we have to have 10 grades in within the 6 weeks (or at least I had to have 10 grades).
Gail
I have told you from the beginning that you teach where I have always wanted to teach/learn. How exciting. Can you share with us some data on your students? Average age? Motivation? Goals?
I read my first book on an iPad called - Choice Without Chaos by Anne Bedrick over the summer. The book discusses a choice based elementary art classroom, set up some like a studio. Where the young artists/students have more choice over what they experiment with. They can work on art projects longer, and the class is not as creatively controlled. I found it really exciting but of course more difficult to set up especially with large schools. Another book I am reading about this is Engaging Learners Through Artmaking / Choice-based Art Education in the Classroom. I mention these books because I do feel that elementary art classrooms at times aren't able to give a young artist enough opportunity of creative control. I like the idea of classes for young people to be more open so they can explore different mediums that interest them fully.
DeleteMy first art class outside of school at I guess about 5 years old, was in an artist's backyard with what I remember as being at least a dozen easels. She also had an area under a tree to work with clay. I don't remember any directions which I am sure she had, but I do remember feeling consumed in the moment of making art to display and share at a promised art show. I think as a young student I felt that what I was doing was validated somehow. The teacher always worked on her art when we did. I do think art teachers should have more control over the curriculum. Last year when I was a librarian my school had Enrichment Cluster classes that each teacher needed to teach once a week. I did ceramics and only students that wanted signed up, so this included students from 3rd-6th grade. I had a teacher from the high school come in one day as well and that were thrilled. I love the idea of multiage classes and having a "specialist" come in. It is very inspiring for students to see a real world connection.
Martha, I'll have to look up that book and read it. Sounds very interesting!
DeleteFuture, My average student is female, 45-65, finished raising children. Psycho demographically any of these women have been told that their search for creative fulfillment is not valuable.
DeleteFuture- That would be a wonderful thing if we could teach a child a skill like that from elementary to middle school. I think kids need the exposure to see what all is out there for them to enjoy. If they pick a focus at a early age and learn the skills, the possibilities are endless. I love that idea. I also believe the students would appreciate the project more if they saw the skill being learned used outside of school. When I teach a lesson, I always talk about an artist in relation to what we work on. However, sometimes just a video of the artist or a PowerPoint over their work does not do the artist justice and make the students interested. There are so many interest in our classes that it is hard to make everyone happy. I love the idea of going to visit with an artist, but the problem is funding and availability.
DeleteThis comment has been removed by the author.
ReplyDeleteStill reading the chapter, but I'll jump in on the chair conversation. Or I guess start it. I have two favorite chairs: one inside the house and one on the porch. Both have been very well-loved, to the point of falling apart. My inside chair was bummed off a friend; it has obnoxious yellow fabric with huge "sketchy" flowers in blue and red. Very primary. It rocks and is very comfortable for reading or vegging in front of the tv. However, two very neurotic cockapoos also fell in love with this chair and it now bears the marks of teeth on the rockers, cushions, and arms. I keep thinking I'll recover it, but my project list is about 3 miles long.
ReplyDeleteMy outdoor chair was a gift from my brother; a very comfy, unfinished wicker chair. When I moved into my house I had the intention of always sotring it in the garage when it rained, but that quickly fell to the wayside. The chair, though, sits on my back patio underneath one of the reasons for buying my house--a 52 year old red oak. I can sit and stare up at my tree for hours and hours, beer or no beer, book or no book, dog or no dog. When this chair reaches the right amount of ricketiness, I'm sure I'll just compost it and get a new one--one that fits the dog and I a little better. But for now it is my absolute favorite place to sit.
Beautiful. Thank you for sharing.
DeleteLove!
DeleteWhen starting Chapter 3, I was actually surprise it was so short. I figured there would be more “upheavals” acknowledged. There isn’t any in particular that I am referring too, I just assume since the craft movement was so close to a world war and economic depression. What really surprised me was that there was no mention of Walter Pach. Pach actually had a critical role helping Davies and Kuhn organize the whole show, therefore, I was in dismay that his name was never mentioned or credited. Pach comprehensively wrote about modern art and published over ten books and 200 articles. He even helped Davies and Kuhn bring together the leading contemporary artist from Europe and American for the show. This article from the NY Times was published in October of last year. It describes the importance of Pach’s work and also some interesting NEW facts that were brought to our attention in 2011 when New York art dealer Francis Naumann discovered Pach’s missing Armory account books. I found the article online. You can check it out here:
ReplyDeletehttp://www.nytimes.com/2012/10/28/arts/artsspecial/two-exhibitions-re-examine-the-1913-armory-show.html?pagewanted=all&_r=0
Francis Naumann also has a section of her website that showcases Pachs work and his importance. http://www.francisnaumann.com/PACH/2011Show/index.html
I was also surprise that the book didn’t mention Tiffany and Fulper together when referring to their “lamps” since these two artists had comparable lamps being made at the same time. Tiffany’s lamps were mentioned on page 73, while Fulper’s were on page 93.
The last surprise was to learn that the SACB had strict rules to follow when designing your jewelry. “The jury stated exactly what good jewelry should be. In 1906 it demanded “simple line borders, repeats of units, the placing of foci [and] the rhythmic combination of lines” (pp. 97). I couldn’t imagine being limited to my creativity like this. I would be stressed as an artist having boundaries and also thinking if you stepped outside of the lines, you wouldn’t gain entry to the salesroom.
What impressed me though was seeing the beautiful work and creativity that went into Shaw and Hale’s necklace design. I love the materials (gold, glass, ivory, jade) Shaw used. It was very impressive and very beautiful indeed.
Another piece that impressed me was Copeland’s Rectangular Bo. “Apparently, she fired chunks of solid enamel into round cloisons, creating the effect of stones set in the midst of the panel” (pp.99). I thought that was genius and the overall effect was stunning.
The main part of this chapter that I am taking with me is that never assume your artistic style will always be in style with society. Just like how Stickley never changed his designs to accommodate the market, and then went bankrupt. (pp. 94). With fashion, one day you’re in and the next you’re out…as Heidi Klum would say on Project Runway :).
I agree that for a chapter titled "upheavals" there seemed to be little discussion of the actual disruptions to American life during this rough time. The book did link the disruption in access to materials to WWI; I wish there was a little more discussion about this. Perhaps we'll see more in chapters to come when we reach WWII.
DeletePerhaps I will work a little on a visual timeline--like was discussed in our last chapter's posting--because I agree that would help us see how all the art/art movements fit into the storyline of American history. It's so interesting how issues like war rationing or an economic depression can affect art production and aesthetic choices.
I believe the greatness of a book is how it makes you want to learn more...so thank you for the added information. By the end of the semester we will have another book based on added information. YEAH. The perfect graduate class.
DeleteEmily, the timeline would be very cool. I was thinking I could edit it into video; we can maybe upload to our blog here for reference, and we could put it on YouTube and I would also like to put it on my MAE Blog as well. It would be nice to publish a reference like this for future students.
DeleteIn another MAE class I took we studied about Occupational Therapy and how theatre helped numerous patients achieve great success and were cured with this fine art therapy. It was inspiring and emotional for me to read this section since my husband is in the military and I personally know veterans dealing with PSD. What a magical thing art/craft can do for the human body and mind. Art can definitely save lives. It helped my life with dealing with the loss of my mother when I was 17. I felt connected to her when I painted her sunset pictures and it brought her back to me in a way and made me sane. I guess and never really realized until now, but that was my therapy.
ReplyDeleteMy favorite chair in my house/studio isn’t a chair but a couch. I bought a couch when I was broke in college at Big Lots and four years later, I decided to reupholster it. This was actually my very first reupholster job. I called this couch my beta test couch to reupholstering because I had no clue what I was doing when I started, or how it would turn out. I taught myself along the way and it is beautiful and I love it more than any other piece of furniture in my house or any store. I did nail head trim around the whole couch and piping. It took me a month to complete and I am actually changing a few things again so I am working on it as we speak. I will upload some pictures if you all want to see it :).
I've thought about doing that to my college couch too but never actually did it. I'd like to see the pictures of the one you did. That might give me some inspiration to finally reupholster mine!
DeleteMy favorite chair is one my hub and I bought at IKEA 15 years ago. It's very scandinavian, with bendy blonde wood and a black clean leather seat and back. We have a matching ottoman too. I drink my coffee in that chair and watch CNN. it feels like the chair I've always wanted, the Herman Miller, Eammes designed leather recliner club chair with ottoman. My love of 40', 50's and 60's furniture is immeasurable.
DeleteI admire how you took on such a large piece to upholstered. I inherited two chairs from my family, and soon learned that upholstery is a difficult craft to master. I would love to see a picture of your coach.
DeleteI was also surprise I took on such a big item for my first time, but I wanted to learn every aspect of reupholstering in one piece and this piece taught me everything for sure. I upload some photos and they are posted under, “Brea’s Reupholstering Photos” http://art5360spring2013.blogspot.com/2013/02/breas-reupholstering-pictures.html
DeleteThat is so cool that you reupholstered that couch! I understand about the process and how you might have come across so many things that you probably did not think of before you tried it. After hurricane Katrina, I did my share of reupholstering dining room chairs. I have never appreciated those dining room chairs more. Isn't that funny, how we appreciate something more because of the effort put into it.
DeleteThis chapter was short but very informational. What struck me the most was the Occupational Therapy part of it, even though it was so tiny. Art is something I always felt was therapeutic to me even though I’ve never suffered from any major disorders or health problems. Drawing and painting were my “cure” from boredom, stress, confusion, anger, etc. It also reminded me of one of my students. When he has a “bad day” and comes into my class, as soon as I give him paper and pencil his whole demeanor changes. He is calm and even if I talk to him, he seems so concentrated on his drawings. He is so detailed and clean in his work that when he is finished and shows it to me I can tell he is proud of it by the way he describes and talks about it. Art is definitely his therapy.
ReplyDeleteArt can definitely save lives. I always felt it saved mine. I was a very quiet and introverted kid growing up and even though people thought I was very smart because I had good grades I knew I had to work very hard at it. Art was the only thing that came natural to me and never really thought it would take me to a University to study it and eventually teach it. If it wasn’t for art I really don’t know where I’d be now.
Another thing I found interesting in this chapter was the rise of craft institutions and how they carried on to the university level. I made the connection to Chapter 2 where it talks about how students were taught a trade which in turn helped them when they left school. They required very little or no training at their new job because they had already received the education at school. This reminded me of the Vocational Training and Co-op classes in high school. I took class/worked at the Print Shop. We worked there for 2 hours a day and received credit for school as “pay.” Our teacher, the owner of the Print Shop, was very knowledgeable and showed us a lot of techniques on printmaking, developing negatives, and working the machinery. For me, it was a great experience because not only was I learning about the art of printmaking but was also gaining work ethic and experience. I believe this was the same thought the chapter states they had back then when they created these types of courses. Now, I wish I would have taken more printmaking classes in college.
My favorite chair...that’s a good question! I haven’t ever really owned any chairs since I lived in the college dorms and then small apartments after that. My husband and I live in a small apartment now and we don’t have a dining room area. I do love my couch though! (Does that count as a “chair”?) It’s pretty old and belonged to my aunt’s husband’s first wife. My aunt and uncle gave it to me when I moved into my first apartment. It has a pretty outdated floral print that doesn’t match anything on our apartment now. I love it because it’s comfortable and reminds me of all those times I tried to study and ended up falling asleep on it.
Yes, couches can count. The point to the lesson is to take time to look at a piece of furniture, something you use everyday but may not have thought about or even studied.
Delete
DeleteOn a social level I wish art was considered as much a priority as the other academic areas like math, reading & science. I think we might have more well rounded critical thinkers, perhaps more students willing or comfortable with taking creative and intellectual risks and less critical of others. Using art as therapy has shown to be powerful for young people who have experienced traumatic events from war to domestic violence.
Personally I do think art can save lives. In some ways it has saved my live as being a constant in my life through good and bad times.
Martha, I totally agree. I think if there was standardized testing for “Art” then there would be a higher priority for it since our focus is achieving high test scores than anything else these days… I personally think when learning about art and using that side of your creative spectrum/brain it opens and turns on lights for you/students that have never been turned on before. I believe students start to see everything in multiple perspectives. Even with math, history, reading, writing or English. You look at things differently once you’ve been in the art world. You learn to appreciate every aspect that makes something whole and I think a lot of our students are missing this creative technique in their adolescence years.
DeleteBrea and everyone else, what would that standardize test look like. How would the individual spirit of art be tested. And who would do the testing. Standardize testing is a business that leaves out a number of students and their life experience. Art history can be tested but I am not sure how creativity is tested. How many artists/craftspeople have broken all rules to reach the heights they have reached. How do you allow for collaborative works (like the ones we have been studying) in one test?
DeleteI actually don’t think it could be or should be for that matter. I just think if it was for some apparent reason then there would be a higher focus on it since I feel our teaching revolves around the test and the numbers. I think it would probably ruin the creativity of our students by making certain artistic techniques declared what is right or wrong. When a school budget gets cut the first thing to be affected is the art or music programs and I believe that is because they don’t pertain around the “test” therefore they are not a high priority….which is really really sad.
DeleteArt just needs to be valued at every level. More outdoor art, more museums, more galleries, more arts in schools, more schools of art, more publications on/about art, more dinner time discussions on art.
DeleteThat's very true. It's a chain effect that if the parents don't pass it on then they feel it's not important. I just had a student tell me today, "I don't like to paint because my mom says when she was in school she couldn't paint." My parents didn't paint or draw but my mom was a seamstress and she taught me a little bit of sewing and needlework. My parents were very supportive of my wanting to draw and paint but my art teachers, I feel, were my biggest encouragement.Even if most students don't have that encouragement from their family, if they had the opportunity to visit museums and view artwork face to face then they would gain a whole new perspective on art.
DeleteTesting in art would not be helpful, but it would make test or curriculum people happy. It is crazy thinking of all the $ spent on prep for testing and students and teachers. standardized test in art would be a frightening thing. Hate to think what it would do teaching in the arts. Future mentioned how current testing leave certain groups out, I get stressed just thinking about an art standardized test. But I guess the most statistics or research we can have that supports that the Arts can support social and academic development of children the more likely we will have funding for creative programs.
DeleteTesting testing. WIll this publish?
ReplyDeleteHaving technological issues.
This comment has been removed by the author.
ReplyDeleteI feel like art making is a therapeutic experience for most of us. As it is for others regardless if you have a disability or not. For me the process of creating allows me so slow down my thought process and curb emotions. It is often an outlet for my frustration, stress and anger. I find it most unfortunate that there are those who don't have the ability or access to an artistic outlet.
ReplyDeleteIt is not about ability or even so called talent but more a case of availability or opportunity and some small amount of support. Think about the alternative art or crafts places you know. Would you (again the group "you") take a class in a non college setting.
DeleteMy studio is one of these non-traditional settings! Private art/craft studios and workshops are everywhere now and have become common place. Taking a class without the stress of grading and formality can be very rewarding. The groups common focus on learning a technique, in my experience, brings the students together socially and develops a common bond, thus lifting the experience to a higher level. I hope you all get to experience this kind of on-traditional setting.
DeleteI for sure would take a class in a non-college setting. I looked into taking a reupholstering class before I started on my own, but the only time available was during my work hours so I just decided to watch some YouTube tutorials and teach myself. Gail, I agree with you that a non-traditional setting it is very rewarding for students as well. I think knowing the grade won’t be a main facture of the outcome gives the students a sense of relaxation and takes the intimidation away. They are saying I want to make myself proud of what I achieve instead of making the teacher proud. Once the project is done and they surprise themselves of what they’re capable of achieving is mountain moving and really beautiful.
DeleteI've never taken a class outside of school. That would be such a different experience to learn from someone else besides a professor or teacher. For example, learning from other artists.
DeleteFuture, I have taken a community pottery class off and on for the last 2 years. At first I was skeptical, thinking that truly learinng about pottery needed to be learned through a University, my view on this has changed, but societies view on it has not. I am often asked where I got my fine arts degree from, or if I have work in galleries.
DeleteTwo hours and 6 "Your HTML cannot be accepted: Must be at most 4,096 characters" errors later...my post is now on its own outside this Chapter 3 post.
ReplyDeleteLook for "EBrown Chapter 3 response".
Sometimes you just have to post twice or three times.
DeleteI really enjoyed this chapter. I was happy to see that Overbeck Pottery was a section in the chapter. I remember looking at the work that was produced by the Overbeck sisters a few years ago when I first began working with clay and altering thrown vessels. One identifying factor I enjoyed was that every piece was and original work of delicate carving, composition, and subtle color.
ReplyDeleteAnother surprise was seeing Fulper and Vasekraft in the chapter. Even though there was only a small section of information I learned more than I had known before. Better me to say I knew nothing about it, but recognized the work. It was interesting to me because my grandmother used to have a Fulper lamp. It is only now that I recognize it and know the name of it. I remember staring at the bright light blue base that merged with a darker brown color, and being drawn to that surface. Then staring at the shade with yellow and white circular patterns that were illuminated. How did they do it? Was it glass? Metal? I didn’t know then, but now I guess I do. It is interesting how I recognize and made an immediate connection between my grandmother’s lamp and the image in the book. I visited the Fulper webpage. It was very interesting. They are currently creating a book currently. http://www.fulper.net/lamps.htm if you are interested in seeing some of the incredible works.
Chairs? It is difficult for me to pick a favorite. But, I would have to say it is a 1980’s lounge chair I got from my grandparents. It is a horribly ugly tan/brown color, but it is the most comfortable chair I have ever had. Perfect for reading in as well. Every time I move I think about getting rid of it. Its old, ugly, worn but then I sit down “one last time” only to pack it up with everything else.
The connection to your grandparents both in your chair and more importantly in the Fulper lamp is a great example of how our lives are influenced by crafts and we are simply unaware.
DeleteWhat impressed you from the chapter and what are you carrying away with you?
DeleteThat is really cool you are realizing that your grandmothers lamp is a Fulper! I remember my grandmother having a lot of eclectic furniture but I don’t remember the exact details of each piece to be able to determine the artist. I wish my dad still had most of it. That is a invaluable memory, don’t forget it!
First of all, I think our author really loved the Armory show. She gives the fun quirky details brings this sort of history to life.
ReplyDeleteI am starting with a painting by John Singer Sargent called "Gassed". It is a WWI image painted in 1918-9.
http://www.iwm.org.uk/collections/item/object/23722
Second of all, I am tagging along to the discussion of OT.
I find it fascinating how we are so closely linked at the beginning of this century to the beginning of the last.
Occupational therapy and Crafts and Art in Contemporary Culture
The connection between WWI shell shocked soldiers and the rise of occupational therapy resonates today. From the bizzare story this week of the shooting of the Navy Seal while he was working to rehabilitate war ravaged soldiers to the brain scans on rappers while they free style, we, culturally, try to understand how creativity and work can heal.
Occupational therapy
In many ways, we have moved occupational therapy directly into the schools. Studies have related certain movements to vestibular development and linked them to reading and writing skills. Some early childhood teachers focus activities (crafts included) on things like balancing and crossing the mid line of one’s body. Making things for reasons well beyond self expression have become common practice even for the youngest students. Using sissors, weaving, sewing are all craft activities that are used to help children read.
Beyond Occupational Therapy (where we are today with art and craft and healing)
Hospitals today have taken a step further to study the relationship between the art and craftwork present on the walls and healing. Studies have been conducted to suggest there is not only a patient benefit-calling for the nurses fewer times, asking for meds less, checking out of the hospital at least 1/2 a day early, but a benefit to the bottom line of the hospitals as well. The nurses have a little more time. The medicine cost can be reduced. The hospital is able to fill the bed sooner to help the next patient. Nurses report that they are more satisfied at work. This is all because of the kind of art on the walls and around the hopital. This movement is called Evidence Based Art. I am surprised at how closely related it is to Occupational therapy. It is like OT’s baby sister-it has taken the concept that art and crafts can help heal if you are the one creating it to a natural extention. Arts and Crafts can heal if one views it.
Craft note--Stained glass
Aside: much of the stained glass used in creating windows was manufactured in Germany. Grant Wood was commissioned to craft a WWI War memorial for Veterans after the war. Because he used German glass, the DAR ladies delayed the dedication for years. I will attach links to both the stained glass and Wood’s reaction, in his painting DAR. Remember the painting in the background was painted by a German (Leutze) and the modeled for the river was the Rhine. Some scholars believe, Grant dressed the Founding Fathers in drag as DAR members in the foreground.
http://xroads.virginia.edu/~ma98/haven/wood/daughters.html
Thanks for all the great additional information. Now what can you say surprised you from the reading? What impressed you? And What are you carrying away with you.
DeleteI believe art has always been some form of therapy. Emotionally and physically. Art becomes a place for forgetting or for transending pain. Quilting, whittling, knitting, sign painting (I mean small signs on found material), doll making are other examples of crafts that are all around us but we overlook. The little things that kept "idle hands busy". The other connection to therapy is the physical activity associated with art making. Many of the crafts (clay/glass/wood) require strength and endurance.
This comment has been removed by the author.
DeleteI was truly surprised at the author's account of the Armory show. She seems to truly enjoy writing about the Armory show and Modernity.
DeleteImpressed:
I have a tendency to humanize things--WWI was so horrific. I am always impressed but how the world just such down. Staple business in craft were lost.
I read, once, that France lost an entire generation of young people (much like the US did during the Civil War)-and that the world somehow took over and sent all the young brilliant writers and artists to fill in for what France had lost in the 1920s. It goes beyond that-those were huge world wounds--affecting the spirit of people, the creative spirit of people. One of the most moving exhibitions I have ever seen, was called I was 20 in 1945. You entered the exhibition through a WWI foxhole. It began then.
Take away:
I love how deep our creative rivers run. They cut huge channels in time and space--to end up like a great canyon or a giant oxbow in our contemporary world. We are so closely related to the caretakers of those WWI soldiers.
I have such a curious background-I try and read and think about how this applies to my work or my world and how can I use what I know to help someone else.
Lynn, that is an interesting approach to Occupational Therapy. I remember always using art to help with my math skills in elementary school. My Dad is a brilliant architect and he would always tell me to draw it out when I had math problems. That never really made sense to me but now it does. Thanks!
DeleteLinks:
ReplyDeleteArticle on rappers;
http://www.nature.com/news/brain-scans-of-rappers-shed-light-on-creativity-1.11835
Evidence based art
http://www.healthdesign.org/chd/research/guide-evidence-based-art
Chapter 3
ReplyDeleteThis chapter seemed more personal since each section dealt with mostly one artist. Since I am now familiar with some of the names of the artists it was also fun seeing what they were up to in the decade covered.
I was made more aware of the artistic drive of individual artists, whether or not they also had a purpose of social reform. Though there is evidence of helping some ethnic groups most were still centered on the Anglo Americans. The “nativist” approach of supposedly helping with the Americanization of the Appalachian population truly helped ensure the status of the Anglo-American working and upper class and seemed a form of institutionalized racism.
The discussion of the Armory show helped me put the studio craft movement in a time reference I could visualize. The Armory Show was always highlighted in my Art History classes and there were readings, particularly about Duchamp. I had not made the obvious connection to see what was going on in the USA in the crafts area and how it was concurrent with the excitement of the surrealist and Dada artists. The contemporary art and modernism being reflected in so many of the artists work made it a very exciting time. I enjoyed reading about Marguerite Zorach and how her skills in “needle painting” were appreciated. It was interesting that she was supporting her family as an artist, which then as now is not an easy task. It is inspiring that such a traditional craft was in the Armory Show, but it was also disheartening to hear how it was not appreciated or valued the way her oils were during her lifetime.
The University City project was supported via magazine subscriptions and was very ambitious, but still a bit confusing to me. It somehow reminds me of Fuller brush men or Avon ladies knocking on doors. Potters Adelaide Alsop Robineau, Frederick Rhead and others contributed wonderful art to the University City project but bad money management seemed to lead to its downfall. The mention that time was no object in creating work was interesting, as they seemed more focused on their individual artistic process and displaying their achievements rather than the commercial success of the company/university. Students also did not really seem their priority.
An amazing example of artistic and craft pride was personified by Frank Koralewsky and his Snow White and Seven Dwarfs Door Lock. That it took about seven years and was not a commission, but an example of how good craftsmanship was still alive, is dramatic. The time and skill it took is mind-boggling.
I was impressed with Janet Payne Bowles and her spoon, which was so contemporary in its concept but surrealistic in its form. I laughed thinking about a Ms. Bowles making a spoon. Bowles was a unique character in this time and the curious details of her exaggerated claims of patronage were interesting to hear about.
Another artist who stood out to me in the design of ceramics was Frederick Hurten Rhead. Reading about how he enjoyed the incising and carving of the pottery was interesting. Reading about the different processes in this chapter made me look up slip trail and other techniques. I enjoyed the illustration of his incised vase on page 90 and was able to see many more on-line. His time at Roseville Pottery is interesting to me as I have a piece or two of it from my great aunt.
I liked reading about the Arequipa Pottery Sanatorium and how they hired Rhead and later fired him when his desire to bring in professionals was nixed as being in conflict with their social goals. I liked the concept that they were able to use local clay and focus on inspirations from their environment.
I am carrying away with me the fact that there were many artists working in multiple disciplines, and many kept moving from studio to studio, trying to maintain control over their artistic creativity.
what I found so interesting was that Frank Koralewsky was a blacksmith. I am having a hard time wrapping my mind around the idea that a blacksmith could create such a beautiful, and intricate piece of art.
DeleteMartha, I too love putting movements or events into larger contexts. The impact of the Armory Show makes more sense whens seen through the eyes of all artists not just a few "fine arts".
DeleteNeedle work has never and is still not respected nor accepted in many arenas. As a feminist I believe it too associated with mending and sewing to be seen as anything other than a hobby. As a fiber artist there is the constant battle between too crafty for art shows and too arty for craft shows.
Debbie, check out some wonderful gates and fences by blacksmiths...think art nouveau.
Future I could not agree more with you. I feel like I have fought the battle between sewing being a hobby or a skill. If an artist is creating something new with a needle, thread or sewing machine then I feel it is definitely art and a craft because it takes serious skill and imagination to create such designs. Martha, just like you pointed out I think Zorach was a demonstration of this as well.
DeleteMakers: Chapter 3
ReplyDeleteThis chapter was a bit depressing for me. The entirety of the Craft world seemed to contract with less successful Craft houses and large studios.
My surprises:
• .Although the legacy of Stickley and Hubbard will live on, it’s sad to know that they ended in less than a decade and with a whimper and not a bang! I was puzzled by this.
• I was surprised (code for hated) that Colonial Revival style came back into fashion. The precedent was being set for clean lines and modern approaches, but the public taste leaned toward the old swirly decorative forms or the past. What a shame. I suppose it was a necessary backlash during wartime, but I still wish they’d have stuck with a good thing. I’ll practice my patience!
• I was happy to see that ceramics were moving into a cleaner period. The focus became less about surface decoration and more about form, which is certainly my preference. I like that the variations of form became more important and that china painters were not churning out designs on the same tired shapes.
• The iconic table lamp with mica shade from the period is still copied today. I had no ide who the designer was. The Stickley Company was so successful at co-opting the entire craftsman movement that they seemed to absorb the work of other artisans into the collective consciousness.
•
What impressed you?
• I loved that Marguerite Zorach was accepted for multiple types of work and that she was able to produce, especially as a woman. Her needlework was revolutionary and presented as art and not a functional object. During this time women really weren’t accepted in multiple mediums. I liked that she was a leader in the Armory Show movement. That show really broke ground, and elevated artists work according to their intentions, and not the rigid guidelines of the establishment of the time. An interesting note that wasn’t highlighted was that she was married to a very famous sculptor, whose work is in MOMA
• The acceptance of art and craft as a therapeutic tool came into practice during this decade and although I detest that it was utilized for cheap labor, I am thrilled that the benefits were realized and moved into the mainstream in the movement. Today we still utilize these exercises as important, and many fabulous artists are developed as a result. In my business “art therapy” or stress relief through empowerment is our mantra. The concentration on craft technique and artistic expression can be the most freeing, exciting, and ultimately healing tool we have.
What are you carrying away with you?
• Curiousity! This chapter ends in 1920, which is the birth of so many social and design movements. I’m curious to see how what is happening in Europe will affect the US craft and art world. I know things are about to change historically and am interested in seeing what comes next.
Gail
DeleteI think it was a time of transition (as is all time in reality but more so at certain times...do you follow?) And styles are like fads...some become classic others become holloween costumes.
Gail I shared your "surprise" at the "Colonial Revival". I think that is is a phase in mass produced furniture and decorative products that keeps giving.... I remember my mother saying she really wished she could get some sort of Revere style silverware with pistol grip handles but she didn't want or couldn't spend the money. The style of "new" furniture she wanted was Ethan Allan but we grew up with mostly items from second had shops my parents had bought as newlyweds and some was colonial revival. Perhaps the style was tied to the illusion of everything being better and more American that was closer in style to the colonial days.
DeleteOops, not MOMA! The Met an the Smithsonian.....
ReplyDeleteI am very intested in the theraputic aspects of art. There is a woman in my ceramic class that teaches pottery to troubled youth in Austin. She said that it can be difficult, but rewarding. This is an area that I would like to research further.
ReplyDeleteDebbie, I am with you there! I have a appreciation for someone who has the patience and talent to motivate troubled kids. I know that sometimes it is a challenge to deal with some of my troubled students and get them motivated. I would be interested in the tips they have on doing this.
DeleteI always found that very interesting as well. I would have loved to have taken some classes on that in college but none were offered at the University I attended. I work with a few trouble students but learning from someone who has studied and has experience on that area would be awesome.
DeleteChair- As far as a chair goes that I currently have in my place is a leather recliner for its comport. My dream chair and also My favorite chair has to be the shiatsu massage chair because of its comport. Sitting in this chair relaxes you as it massages your whole body. Therefore I prefer comport verses design. They are on the expensive side. If I could afford one of these it would be the only thing I would sit in.
ReplyDeleteWhat surprised me the most?
ReplyDeleteWas the number of women that not only owned their own businesses, taught in universities, worked in mediums that were typically male dominated, but were accepted and acknowledged in the art community for their works. One example of women artists is Overbeck Pottey. They were “altogether a woman’s enterprise both in its origin and operation” (p87), and had achieved a national reputation. They were not only practical in that they worked in their home, but developed standards of their handcrafted items, which included experimentation, and originality, with no duplications. They experimented in different clay bodies and glazes, and threw their own pieces on the wheel. Their work also emphasized abstract patterns, and geometric designs, at a time when china painting was popular.
What inspired me?
Was the will and determination of O.L. Bachelder to not give up at the age of 62, instead he started a whole new life for himself, when most people of his age saw no value or hope for the future of older workers. Several of his accomplishments included marrying at the age of 65, starting his own pottery, buying a farm, and raising his own food. It all started when after 40 years of working as a journeyman potter his wages were reduced by 50% due to his age. I find it interesting that this form of discrimination of aged workers is still experienced in modern times. Not giving into his circumstances or age decided to start his own pottery company. He first made functional pottery, then made a transition into elegant forms void of surface direction, to making art goods with no duplicates. He was best known for his deep black high-gloss glazes. He was one of the few potters in North Carolina to make the transition from folk potter to studio pottery. He looked at life with not only a spiritual level, but one of a holistic lifestyle, committing himself to the arts. I find this to be an extraordinary viewpoint for this time period, and is one that I associate with most contemporary artists. He attributed his energy to eating a simple diet, to live each day to the fullest, to not worry, plan ahead, and dream ahead, do not dwell on your age, and dress as simple as possible, and let no habit become your master. His views and lifestyle are a whole mind, body, and spirit approach. His accomplishments have given me a new perspective on my own future at the age of 50, and helped me to understand that age is not a limiting factor.
What am I carrying away with me?
The therapeutic aspects of art in healing, the role of women in crafts at the turn of the century, that craft was used for social improvement of soldiers, which turned into occupational therapy. Educational programs and art schools, and the social aspects of the time and how art came about as a result of it. I was also interested in the great no. of educational programs and university that were offered at the time. I am interested in what direction the Arts and Crafts will move in the next decade.
My favorite chair is my rocker, which was handed down to me from my great grandmother. It is of a typical arts and crafts design, simple in form, made from white oak with a plain unadorned upholstered seat. It speaks to me when we sit together reminiscing of the times we had rocked my daughters to sleep, and of the many books we read together. It has a special place in my home, in a room with many windows floor to ceiling. It is a place where you can observe the changing of the seasons, and the birds and animals in the fields. I hope that one day it brings as much joy to my children as it has brought to me, for I feel that it will be around much longer than I.
great response
DeleteThis is why I love this book (aside from all the images that I can't get enough of)...each chapter introduces new voices and new stories of the power of art to heal and to endure.
Bachelder impressed me, too! (Why did the author have Batchelder, Bachelder almost back to back? To confuse me?) The fact that he kept going, teaching himself a new trade--in which he was successful--is an awesome example to others. Age discrimination is rotten any time it happens, but I can't help thinking how dire his situation was knowing that he had no legal recourse to fight back.
DeleteDebbie, All of the feminist success surprised me too. I love reading this book because of that factor. In Art history class it was rare to hear a woman’s name as the artist. This book is giving me a breath of fresh air because of it.
DeleteI did a piece on artwork in a war zone, (Afghanistan) and I came across, Shamsia an Afghan Graffiti Artist. She is pretty popular now but I remember reading that she would have to graffiti at night so she wouldn’t be seen, since woman aren’t allow to express themselves like this in public in Afghanistan. I had my husband go out and find some of her artwork and take pictures for me. She is soooooo inspirational and sends a powerful message. You can check out some of her artwork here:
http://mountain2mountain.wordpress.com/2012/11/09/shamsia-an-afghan-graffiti-artist/
”Every wall in Kabul has a bad memory attached to it. Maybe if I can paint on all the walls, I can erase the bad memories.” -Shamsia