This chapter covers a very hard time in America, yet at the same time the crafts continued on its meandering road towards acceptance and success.
Aside from your regular questions, I would like for you to consider the following: in this chapter a number of craft schools are discussed: Cranbrook, Penland, Black Mt. College and their European inspiration The Bauhaus, so think about Junction or what you think Junction might be and describe the school of your dreams. The length of classes, the faculty, the subjects, the space, and anything else you might come up with... money is no object.
Industrial Design Vs. Handcraft (part 1)
ReplyDeleteSchool of my dreams... When I think about my Utopia art school, I think of a school that has big class rooms with 10 students per class. I like small classes so each student gets more teacher help and advice. I think art students excel when they have smaller classes. Each classroom would be based on what materials are being used. For example, drawing class could be all media used to draw, sculpture class would be all media to create sculptures except clay. Students would be free to switch classes after each project completed if they choose. Therefore, I would like a studio based school for my dream school. For faculty, there would be a person with a lot of knowledge about that certain media in each room. I do not agree with Lucy Morgan's Penland art school philosophy on grades, that " there were no grades, no set curriculum, and no accreditation" (p.149). Even though a school like this would cost a pretty penny, I think students need to be held accountable for a grade, or at least a pass or fail. I think students would only go there if they were interested in art, so it would not be hard to technically pass, but I think they still need some criteria. As for curriculum, I would like a pretty open curriculum as far as exposing students to the endless possibilities of what is out there. I think it is important to expose students to as many different media as possible as well as artist and art history. When I was in high school, I had a limited knowledge of other artist, and think I was missing out. I think it is important to expose young artist to what other artist are doing to help them in their own development. The way Laszlo Moholy-Nagy "encouraged students to experiment freely with new materials and processes and to regard machines as to bring superior design" is also something that I agree with (p. 150). I actually let students explore with different materials and processes in my advanced art class called Art Studio. I find that inorder to expose them to what is out there, it is best to go over contempory artist and to meet about their ideas to give suggestions.
I agree that I grade helps keep the student accountable for their investment. And, :), I agree too that time must be spent on looking at other artists' work, both past and present. I make a point to expose my students to current artists, and if I can, artists working in our area. For example, Jill Foley recently graduated from SMU's sculpture department and her work was everywhere in Dallas, at galleries, the DMA, everywhere. For a few years in a row I referenced her work and had the students talk about and then create. The work was amazing! They loved seeing someone...uh, to be frank, that wasn't dead.
DeleteExperimentation is important. Sometimes not knowing how something "is supposed to be done" allows us to accidentally discover interesting effects, compositions, etc. While I like studio disciplines in separate classes, I also love seeing a mix. For example, the last time I was in a printmaking class I was using air die grinders to scuff my copper plates, rather than acid baths. And when I was working with thickly welded steel in sculpture, my prof and I inked and printed from my relief (made the print prof very nervous!!). As an artist, we don't tend to work in disciplines, but rather use what we need in order to make what's in our hearts and heads.
Your response sounds a lot like mine. I guess great minds think alike lol ;). I also didn’t agree with Lucy Morgan’s approach to no grades. I think in this scenario the pass/fail grade system would work the best.
DeleteI agree about small groups. It's always tougher to try to answer 20 questions while trying to teach a new method at the same time. I've noticed with my after school Art Club of 8 kids that they grasp it a lot faster and things run a lot smoother than in the regular class. The good thing is, I can use those Art Club kids as "Teacher Helpers" and have them teach it to their table group while I work with others.
DeleteIt happens that last night, I watched the movie, Shining Through,which is during the time of the Nazi scare. It stars Melanie Griffith and Michael Douglas. During this time, I can't imagine how difficult it must be to live their daily lives. Even though that movie was based on a love story during that time, it helped me to vision myself in those times. I was surprised that because of the economic crisis is the reason why pottery took off. It does make since though to save money by making your own dishes. I also like the idea of "preservation of craft traditions and education for the common people [being] typical goals of federal craft programs" ( p. 147). It seems like we are still doing this today, to perverse the old ways of creating art. I find that I appreciate the past and the history of handmade objects. Some of the craft traditions: weaving on a loom, basket weaving, and hand carving wood seems something that not very many people these days know how to do. When I say people, I am thinking of people in their 20s and 30s. I think older people have more of a percentage to know more about these types of things, but it is decreasing in the years. How do we keep certain crafts alive except reteach these crafts. I agree with Eaton's comment about "the importance of pleasure in work and a sense of self-worth" (p. 148). I believe that one appreciates things more they are a handicraft. For example, the glasses I have made out of glass in Junction, I only use them for special occasions. I guess because I feel like they are not for everyday use because I appreciate them more then the ones I bought.
ReplyDeleteOn a different note, I was surprised about the influences of china and how "flat sides and stacking containers that [were] made [for] economical use of space" (p.153). It seems that many things evolve and change for the convenience of space, time, or luxury.
You know what I've noticed? Through watching trends on Facebook, Pinterest, and other social media, there are a lot of people in the 20s and 30s demographic (mainly women in my newsfeed) that are reviving "old ways." I think of canning, knitting, sewing, repurposing, making soaps/lotions/hair products. These people tend to already be artistically minded, in that they can see something and then make it themselves rather than buying it.
DeleteFriends, or rather acquaintances, that come to my home are always shocked that I made most of the bowls, cups, vases. But I agree with you, there's something satisfying about reaching for something you made and using it, whether it's daily or special occasions.
I agree with you Emily. I think Etsy.com is a good reference showing that our demographic is prospering in the craft world by using old traditions still. I have noticed that more and more young women are making their own fabric when it comes to upholstery, accessories or fashion design by using a loom or knitting so that clients can have a one of a kind piece. I have also notice that “vintage” anything is big right now or making, designing, replicating vintage pieces right now. I guess craft is a lot like history, what goes around comes back around….
DeleteSo true. Pinterest is full of things to make yourself and a lot of those are "vintage-y." What is etsy, though? I've heard of it but never looked into it. How does it work?
DeleteWhen I started reading the first paragraph of this chapter, I got really anxious, because I knew I was about to read all the turmoil the war and great depression had on the craft humanity. What really took me for surprise in this chapter was learning that machine art and industrialize design had a big impact on the 30’s. Just like reading about Deskey in the last chapter. I never knew industrialize design came in the 30’s. I always thought it developed after the war ended. I guess I just assumed that throughout my life, therefore when I read it, it was a big surprise to me. “Modernism, which Herbert Hoover had said did not exist in America, made itself at home—literally”, (pp.145). When I read this statement from Hoover it surprised me and kind of made me laugh and say; “really? How can someone so important in American say that?” Isn’t “modernism” what America is really about… innovation, progress, originality? It also surprised me that the MOMA had a Machine Art exhibition in 1934 which consisted entirely of American objects. I thought that was really bold of them to do and I personally think it probably helped industrial design flourish with society since MOMA is so publicized and venerated.
ReplyDeleteOne of the main things that impressed me was how the Roosevelt administration modestly established various work programs to help support crafts. It was a relief to read that community art centers were set up and craft courses were offered. I think this is exactly what the common people needed in order to give confidence back into our nation since the war and depression affected everyone in the world. Not only did it give confidence back into the people striving and interested in becoming craftsmen, but I think it also shined light back onto the experience craftsman and gave them hope, since hearing the news of famous institutions like the Roycrafters not making it.
Reading about the Southern Highlands was really interesting for me. I loved reading that 95 percent of about 15,000 were women. I think that showed that women were striving in the craft world.
Even though Cranbrook Academy of Art closed all of the workshops except the studio Loja Sarrinen and the weaving shop, I was still impressed with the motivation and achieving an educational foundation during an impossible time, which was the depression. Even though the workshops were closed, I was really impressed to see the dedication it took in reopening a few and then going back and forth like a rollercoaster effect with the economy. I really admire Booth for recognizing the obligation to work in collaboration with the industry by choosing to produce a design that can be multiplied by machine. I think he had a good vision of where the future was going and new what it consisted of.
I googled Gregory and the, “Light of Dispelling Darkness” and “The Fountain of Atoms” to get a better vision of what he created. I was really inspired and impressed. It was interesting to read about the technical achievements of his work and his solution for working with vertical positions.
There were two artists from this chapter I really connected with on a sense of style. The first was Vally Wieselthier. When reading about Wieselthier I started to notice her sense of style and the realizing she was like me as an artist. “Her treatment was as novel as her style: she was unconcerned with unified surfaces and perfect finish, and her ceramics convey a feeling of spontaneity” (pp. 158). I feel like I convey the same approach as Wieselthier. Then as I read throughout the paragraph, I read that she was interested in fashion drawing as a girl and designed wallpaper (which I have thought of), furniture, glass and women’s fashions at Werkstatte. I could see our backgrounds and interest matched perfectly and I began to form a bond with her.
ReplyDeleteThe second was Dorothy Liebes. I not only loved her design esthetic but I loved the way she ran things. “Handweaving at its best could and should be used as experimental material for reproduction in the weaving factories”; she aimed for machine-produced fabrics with “the handwoven look and feel” (pp. 167). I think Liebes wanted everyone to be able to experience the handwoven quality in the masses and it was cool to see it play out like that. Everything that I design or repurpose has either glitter effects, metallic, gold trim, and I are too inspired by Chinese brocade. I have always had a bohemian esthetic and I feel that Liebes was a bohemian soul like me. I also respected that she stayed true to herself when designing and transported a since of color and happiness back into fashion during such a dark time.
A craft school of my dreams would be able to provide avid inspiration to all of the students. I know this would be impossible to achieve, but when I lived in Italy, every other class we would attend a museum and see for our own eyes the artwork we were learning about. It was moving for every student beyond belief. I would want that for all the students in my dream school. I would want the students that didn’t know anything about art or never thought of themselves as artist to be able to leave with a new outlook and respect for all mediums. I would give each student the opportunity try out every medium so they would have a general understanding of the entire craft world. I think it would help them determine what they really had a desire to do as well. I would hope that they would be able to find themselves or what they are searching for as an artist in a setting like this. I think a lot of students that take an art class start out being discourage and intimidated, in fear that nobody or the teacher will like what they create or having fear in themselves. Therefore, I would want to build a community where all were equal and all ideas were considered. I personally get distraught when I feel pressure in wondering if the teacher will like what I created or not, therefore I would want to create a foundation right at the beginning where all the teachers understand confidence is key. I think there should be a sense of grading but not to a point where the professor was deciding if the art made, was good art or not. Instead, a grading rubric that defines if the student met the standards of creating something or pass/fail. I personally love small classes where you can get to know everyone on one-to-one bases and build a community within the classroom. I haven’t been to junction yet but it sounds like a wonderful place from what I have heard.
Girl....You are gonna love Junction! You will come away feeling encouraged and empowered! At least that's how I felt!
DeleteI hope so, because I kind of feel like I need that in my life right now to help me find my direction. I was planning on it last summer and I was registered but my husband came home on emergency leave and I felt bad leaving during his leave which was for only 30days. He was leaving again for another 105 days after that leave so our time together was precious. I am planning on attending this July though! I am excited!
DeleteI thought this was interesting and timely although a couple of weeks behind--its an article from Fine Art Con. about the Armory Show's Centennial--
ReplyDeleteHow fun that we are in that moment in time--to celebrate....
> Fine Art Today
> February 21, 2013
>
> The Armory Show Celebrates Its Centennial
> The Armory Show of 1913 in New York City was one of the main catalysts of the Modern art movement in America, and now, 100 years later, the large art fair is still going strong. READ MORE http://www.fineartconnoisseur.com/track_newsletter_links.php?listenerId=5201937&newsletterId=25495&link=aHR0cDovL2ZpbmVhcnRjb25ub2lzc2V1ci5jb20vVGhlLUFybW9yeS1TaG93LUNlbGVicmF0ZXMtSXRzLUNlbnRlbm5pYWwvMTU1ODE3NDc=&linkLabel=UkVBRCBNT1JF&isImg=0
>
ReplyDeleteMy brainstorming on schools –
I would like the facility to have large rooms and windows. It would be perfect if the design included easy access to outside and to a covered courtyard if one wanted to be outside even when the weather wasn’t great.
My first thought is a place that offers a skill or technique I want to know. A school should have a variety of skills for artists/students to choose from that would expose and challenge students to think outside of their own fears or prejudices of an art form or process. By giving students the opportunity to learn in an apprentice type format we would have an overview needed to understand the possibilities of a medium. A good overview would also give students an awareness of safety aspects of certain media. I don’t think I would want this to be too structured though. When I was younger I wanted less obstacles to hands on activity but I now think the best is a hands on directed approach that is open ended enough to easily evolved into an almost studio environment. That way an individual will have choice and won’t be inhibited. This should be in a creatively safe environment so that students feel that they can get engrossed in creating without interruption. This is a bit vague I need to think this through more. Perhaps each students should just also have their own studio for the duration of their stay, if they want it.
Ideally this school would have group, and a personal studio space/time for participants that need it. The length of class is tricky. I know that in the past if I was sketching in a class I never wanted long poses, but now I welcome more time, I enjoy an hour or more when once 30 minutes was too much. So time would be open ended for the studio, but for directed and demonstrations probably not more than an hour before giving students and instructors a break. The different work area could be broken up in the following ways: One that you could use if you wanted more collaborative or social studio situation and perhaps help when getting acquainted with a process; and then a more sequestered space when you would go to just work it out yourself. I think a student that is more skilled might imagine they want only studio time but perhaps incorporating a sharing and discussion time in a school that engages all participants what ever their level (I hate that word level not sure what to use) would be best. The trick is that if the school had different skills to teach it would need several areas, ceramics, print making etc. So the facility would need to be large. Maybe a huge pie shape. I went to an elementary school that way with some of the walls that were moveable. I recall one positive on the pie school was that we easily could work on plays and creative activities like art shows, (sadly also group testing) when we wanted to by just sliding the walls.
Martha, Your school sounds wonderful. I love the idea of windows for sure! I remember at Tech some of our rooms didn’t have windows and I hated it! I kind of felt like I was working in a sweatshop. I also would embrace your idea of a courtyard with a garden or something! Those types of environments are so relaxing and calming they help you clear your head of the stress of our daily lives, which I think is important for the students.
DeleteFunny how a lot of us mentioned big windows in our ideal school. I think our ideal school would just be outdoors. No walls, no confinement, no boundaries. We're artists. We're free-spirits! :)
DeleteIdeal School
ReplyDeleteI had a friend once tell me her idea of heaven was a bakery inside a bookstore.
I might be describing my idea of heaven--the ideal working school.
In the construction of my ideal working school, it will be built first-by my experience and second-by my dreams.
Situated in a beautiful location, a dangerous animal/mosquito free environment, where the out of doors offers perfect days for al fresco work. Outdoor pavilions, with ready with supplies for creating or listening to talks. These pavilions would over look bends in the river and quiet hills.
First, the buildings would be warm in the winter and cool in the summer. Designed to bathe artwork in consistent north light , each building would have tall ceilings to accommodate large work. Each space would have plenty of storage, workspace, wifi. Next to the material supply store (art commissary) and gourmet kitchen, a print and computer station would be adjacent to the nearby reference library.
Second, it would be a basic block schedule. The structure of the day would be consistent but the individual could pick and choose what media needed personal attention. Everyday is greeted with a lecture or demonstration in the morning and/or afternoon in each art core areas. There would be calorie free muffins and tea available upon entering the sessions.
Large chunks of personal work time, where individual artists could work alone or in small groups,would be part of the daily schedule. End of the day critiques would be kind and constructive. Mini workshop, in specific areas, would be available from visiting artists, at night or on the weekend. Of course, for me, there would be talks on both history and destiny-our grounding and our visions.
Third, the curriculum would be structured with a clear rubric. It would often be project specific. The faculty would be interested in training and educating each student. The career center would have a counselor helping each student find success and an ability to make a living wage, and have happy and productive life.
Fourth, the students would be kind to each other and the staff, clean up after themselves and be interested in making the best of each moment. Focused and dedicated-each artist would understand, we do not deal in a limited resource
-with creativity and making things-- the more you use, the more you receive.
Kind of like Junction in paragraphs 2-5! Way too hot for paragraph 1!
DeleteLynn, in referencing your fourth possibility, growing up through school most of my favorite teachers were always my art teachers/professors. For some reason the art teachers I always had, had great respect for their students and they always seem to understand the type of person I was. I know this probably sounds cliché, but I felt like my art professors saw us (the students) in a different perspective than other non-art professors I had.
DeleteWhat surprised:
ReplyDeleteIt's longevity which surprises me.
Themes, movements traditions live long lives in our collective conscious.
For example,
I have a friend whose children are at Cranbrook academy outside Detroit.
She had described the ski school, the type of classes but never in relationship to craft or history.
I had to look and see if it were somehow related to the Cranbrook in the book. It is the same--the same Church, the same location, the same themes. It's founded in that whole tradition.
We live in an amazing time-when children learn things that we held in reserve for adults-that they have access to educations so rich.
Impressed:
So much of the Depression Era was subsistence-trying to keep food on the table, trying to keep families together. It's impressive that a government without many social programs valued art and artist enough to recognize they exist and are valuable. The Library of Congress has a whole section on WPA posters. From these posters advertising classes-It is clear that government-sponsored free art classes were available in a variety of locations across the nation.
It employed artists and gave citizens skill to improve life in a difficult time.
Take away:
This week my take away is a question:
What makes a successful school--clearly funding is important. But schools have survived on less. Is it mission? Is it student make up?
Look up Cranbrook Academy of Art. It is very much an art school. A very high ranked/respected place for art.
DeleteI will do some more research--I have an email to my friend. Her husband is a curator at the Detroit Museum. I need to know.
DeleteShe says its all part of the same "educational unit." I have asked for more specifics.
DeleteThis is one of my favorite things about the class and the book--it helps make so many connections.
I agree with you on the surprise that the government valued the arts then. I wish that was the case today.
DeleteLynn and Gail, I agree with you both. I was also surprise by government support. However, I would be surprised if they didn’t support it after seeing the therapy affects it had on wounded soldiers and soldiers with PSD. I love this book because it goes into detail about the little things (that we never learned through our history books growing up) that kept our country from totally breaking during the war and depression. I never knew these government organization were created to support the craft/art world from collapsing.
DeleteI love hearing that Cranbrook is still going even if changed a bit. It reminds me of the Andrew Carneige libraries that were to be "forever" but some have been converted to homes or other business. The trust or contract made with the Carneige foundation broken due to economics or the need to expand. But these libraries established around 1929 extended free library services to the public and still have about 900 in use. The whole idea of a church in the Cranbrook community confused me I guess since I am used to the secular aspects of education but then Cranbrook was/is a private undertaking, and very successful creatively. Perhaps the Church support is what made it possible for Cranbrook to pick up and go on through the ups and downs in the economy.
ReplyDeleteI asked the question about schools based on two incidents.
ReplyDeleteThe first a few years back when the School of Art at TTU was discussing with architects what could happen once the 3D faculty and classrooms were moved across campus. When they came to Visual Studies our request was for a window. That was it. They stared at us and then asked if we had forgotten how to dream. We had. For so many years in public education and in higher education we (Ed and I ) hare survived as the bottom of the ladder or just marginalized to a point of "make do" that we no longer thought we deserved any thing more. Think strips of construction in place of a loom.
I realized that as classroom teachers or or as students who have spent most of our years in a classroom, we are conditioned to think only in terms that reflect that limited experience. My hope was for each of us to dream...dream about the class we wanted for ourselves. What do you need in a room to feel ready to work? What kind of classes do you want? Who would you like to study with, both other students and faculty? Where (as in what part of the world) would you like to study? Dream, dream big. Think about what YOU want as a student.
The second incident that influenced this question was a talk I heard by Jean Quick To See Smith on her ideal classroom. It was large with an area for clay, another area for painting, another for experimenting and an area for just thinking/dreaming. Lots of light and all the supplies you could use. The theme of the class would be freedom and respect. I want that class. Room, light, supplies and time.
Reading about your request for a window makes me want to also request a building with roof top access. Nothing like taking a break to see the stars or work on the roof. Windows are a big deal. I have taught elementary art in two schools one had no windows the other one about 3 X 4 feet. Room, Respect and and Time with supplies and light do sum up the most important foundations for a school.
DeleteI think part of the problem of "dreaming" is that many special area teachers are just fearful of programs being cut so the "make do" attitude is prevalent there.
I agrees with Martha about having a skylight. Right now in my classroom, I do not even have any windows to the outside. Once I go to work, I do not see the outside until after school unless I eat in the lunch Lounge and look through the windows there. It is funny how the light outside makes my eyes squint when I first step outside the school.
DeleteChange is coming in my art world; hopefully next year I'll have only one classroom to manage and already I've begun thinking through how I will reinvent the art space. I've spread my personal art and tools between two schools, so I haven't felt able to set the rooms exactly as I dream in my mind. Also, the logistics of two rooms to tear down/set up every year becomes tiresome after year #2. I've tried to keep the two schools equal in how I teach; that one campus wouldn't be my favorite (although that is something that naturally happens). Luckily both campuses have large spacious rooms with large windows overlooking a farm with cows (school B) and a large pond with herons (school C).
DeleteI'm already writing a grant with the hope that the school board approves full time art for next year that will help me set up my room in sort of the Reggio Emilia style: stations of materials for student-directed art problem solving. My students have had some exposure to this already, as I have had drawers with "extra" art materials (books to read, fractiles, tessellations, origami papers) for children to explore if finished with a project ahead of the group. I'm having to reign myself in a little with the grant (I envision a little print studio, ceramic studio, painting easels, and bins of materials), but I'm excited to have a better progression through the year with my students. I see a unit cycle that begins very formally with process driven projects that over time open into choice-based problem solving. To achieve these lofty project goals, I'll need flexible physicality. I recently read a really cool book from Standford's school of design called "Make Space" (authors Scott Doorley and Scott Witthoft). The way the book itself is set up is flexible--you don't have to start at page one and read through, skipping around is encouraged (almost like "choose your own adventure"). It's a great book to read as someone that creates in space and also designs space for students to create in.
I have been very fortunate to have studied with many of my DREAM teachers in glass and metals, and I have learned one universal truth. The studio space and the materials are irrelevant to me. A great teacher will inspire you with a crayon sitting on a log.
DeleteI tool a class at a glass factory with a hero of mine who was 80 years old. I knew he wouldn't be teaching much longer, so I immediately signed up for the one week class as soon as it was released. The factory had all the materials anyone could ever want and the facilities were the best too. The first day we literally drew in crayon on copy paper. The second day he lectured. The 3rd-6th days we did tiny projects using very limited tools. It was one of the best classes I've ever taken, and we used little in the way of supplies, materials, tools, etc. He made me use my brain, and get outside of the technique. He has since retired from teaching and I consider myself super lucky to have had the honor of studying with him. His name is Jiri Harcuba, in case anyone is interested. My point, if not obvious, is that a great teacher can create a great experience, regardless of the funds, materials, etc.
My ideal school would be one that had teachers who uplifted the spirits, the vision, and the hunger to create in their students. Teacher who made it safe for students to explore and try new things, and sometimes fail at it. Teachers who would pick you up when you fail and encourage you to try another way. All the beautiful and bucolic settings with light and high ceilings, etc could never make up for that. I'm just saying......
Not to be a bottom kisser, but Future....you did this...."Teacher who made it safe for students to explore and try new things, and sometimes fail at it. Teachers who would pick you up when you fail and encourage you to try another way."
Thank you. I try. As I often repeat to my classes, art was always my safe haven. My place to hide, to find myself, to simply dream. I had some great teachers and some that taught me what I never want to do or copy.
DeleteI love that you ask us these types of questions Future. I love reading everyone’s response and seeing the ideas that come up and the passion behind everyone’s dream and that we are able to still dream like you had mentioned.
DeleteOne of the main ideas that were discussed under this comment was supplies. I think it’s extremely critical for schools to have the main necessities because a lot of students don’t have the funds or space to purchase certain supplies they need in order to try every medium. During my undergrad I was so thankful the Art building had a shop in it so I could build my canvases. I still don’t even own a saw to this day…which is sad.
Rooftop access would be awesome Martha!
If you paint, buy a saw or find get your wood cut at the local store. Art is hard and it requires equipment...paint/ink/cloth/beads/metals/oils/paper...it all cost and it worth it.
DeleteReflection on chapter 5.
ReplyDeleteI was surprised by the variety and breath of the WPA projects. From buildings to community art center programing it is inspiring. I remember a coworker of my dad’s talking about how she and her brother had taught Art through a government program in public schools in New York during this time and her brother continued as a substitute teacher well into the 1940’s. They were both artists though her brother Barnett is the one who stayed in the art world. Sarah my father’s friend became an editor and took care of their parents with his financial help. The elementary school in one neighborhood where I lived in Fort Worth has beautiful tile work and a fountain done through the projects during this decade. There are so many references and places that still show how the country was pulled through the depression by the various programs.
The glass was pleasing to see. I guess I had been unable to shake the image of Tiffany lamps and stain glass from the prior chapters. I truly enjoy the lines of Reben Haley and the delicate designs from the Steuben Division of Corning. I remember being impressed watching a special on PBS about Corning Glass Works history and one of their designer.
Seeing the use of Aluminum and the stress on an industrial design and functional were such a departure from the decorative aspects of the earlier crafts movement but also very refreshing.
It impressed me that the WPA in 1938 stressed “education, recreation, public works and preservation.” These areas are goals and ideas that I can relate to and feel very contemporary. The WPA seemed to support labor intensive projects which included the arts this made the arts more accessible as public works were created and viewed becoming part of our daily life, particularly in the cities or public buildings.
I have always been intrigued with Lazlo Moholy-Nagy and do think the idea of freely experimenting as students is a healthy goal. A book or essays that I have read a few of is Monholy-Nagy An Anthology edited by Richard Kostelanetz. It is so interesting as he was so innovative and seemed at the same time some time reactionary in attitude about some technological achievements. I appreciated the textbook putting him context in a way I could relate to.
Grotell was so dedicated and independent. The text description mentioning her creation of a “vessel for contemplative appreciation” made me think of her in a very 21st century way and as an artist making art and pushing the limits. I appreciated the mentioned that she tried to keep her pots out of her student’s sight. She seemed concerned about unduly influencing them. When I taught young students I saw how they can be less self conscious in their work if they are not overwhelmed by a teacher’s or even a more advanced students work. I don’t know that it is as important with adults but show her concern for their individual growth as artists was interesting and inspiring.
I was impressed with Wharton Esherick and the woodwork in the Gulph Mills house and then the staircase from his studio. So exciting to see what was done with wood in such different ways.
I was intrigued by the a Maija Grotell comment on Arthur Baggs “ He was a scientist and an artist combination, which was very rare in anyone in the country or anyone else that I know anywhere.” I like this as I don’t really see art as isolated but as part of whatever the artist is, which might be part scientist, geologist or writer but it all combines in their work. This is a reminder that our personal processes and interests are all brought into our work.
I found this timeline on Flickr about cranbrook http://www.dipity.com/tickr/Flickr_cranbrook_art/#timeline
Martha, that timeline is awesome! I really enjoyed look at it! Thanks for sharing!
DeleteMy dream school is hard to imagine. Perhaps because my short attention span makes me think of so many possibilities. When I think of my ideal schooling I wish I was in a time where craft was taught by an established artist. I immediately think of 15th and 16th century academies. Sort of an apprenticeship. Not necessarily alone either, I like working around other artist. So the class size would be relatively small, maybe 10 people. The facility would be large and unconfined. I don't work well in tight places. I imagine an open floor plan, With everything I need to create. From kilns, a foundry, wood shop to personal studio spaces and gallery. Similar to Pendland and other craft schools in this chapter I would not expect a curriculum or grading system. I believe as an artist that you should pursue any idea or concept. Why let someone tell you to create or think a way you that doesn't coincide with personal goals. The way we learn is by creating, trial and error, and it is through this process that concepts begin to develop. How can you compare one work to another? The "grade" sets a strict precedence for what is better than another. As far as I am concerned every artist is correct, and should consider their work to be the best, regardless of conceptual aspects or media. I love critiquing work with peers. Not as a judgment or grading scale, but more of a discussion. An open conversation where everyone can feed off each other. Other perspectives offer new ideas such as ways to adjust craftsmanship, fix structural/aesthetic problems, and evolve concepts.
ReplyDeleteI hope you are coming to Junction...open and discussions 24/7
DeleteWhat a good point you make "..a strict precedence for what is better than another". I agree the artist is making correct choices for themselves and will grow and learn. But this sense of correctness or best art is a concern on all levels of teaching art, and should not be there. This reminds me of my feelings as a student during "critiques as an undergrad". The exhilarating feeling when things went well and the instructor was positive and the bad feelings when a piece was torn apart." Of course the negative feeling lasted so much longer. A school that did have open learning and sharing about what is made is key. Deciding what to do is hard and fearful at times and sharing your & yourself requires a safe place.
DeleteHearing about my daughters experiences in art classes now is a bit different with more discussion.
Stephan, discussion is very important to me too. I think having open discussion with the class helps me view certain things in a different perspective. I think you had a good point when you said, “As far as I am concerned every artist is correct, and should consider their work to be the best, regardless of conceptual aspects or media.” I think this is so significant for a student to know. I haven’t thought of this point before but I definitely agree with you.
DeleteI enjoyed this chapter and learned alot. Most notably the sections about craft schools and the development of education in the arts interested me. Penland and Black Mountain College stood out to me. One being that grades and curriculum are loosely involved if at all. This is because I find it difficult to judge art on a scale. Every work is important for different reasons. The other reason has to do with the Bauhaus, the timing and change that came about from the design. Also concepts regarding intimate knowledge of materials and being true to the material surround my work. I got distracted searching craft schools online. I am still trolling through more webpages about all the craft schools around this time period.
ReplyDeleteThe other section I enjoyed was about woodwork. I was surprised with the evolution of the material. It is no longer used as a construction tool, with hard angles and straight lines. Instead it is soft, and detail is given to the material. I felt while reading that through carving and finishes there is a sense of sensitivity to the material. I found the images and information on Wharton Esherick and Isamu Noguchi fascinating.
I found myself searching for different crafts schools on the internet as well. I definitely agree with you about the grading system.
DeleteI've been reflecting a lot about art education these past two weeks as change has shaken things up in my district. I have been asking--not negatively, but just asking--"what is the point of art education?" After five years of teaching, which is just the tip of the iceberg, so to speak, I am even more strongly convicted about the importance of an element of art education for all, yet I'm already tired from the repetition of launching my art mantras at a brick wall. The school board votes tomorrow evening to approve (or reject) a 2013-2014 budget that includes full time elementary art. For the students it means expanding from 13-18 hours of art in a whole school year to having 45 mins of art every week in the school year. A HUGE opportunity for myself and the other art instructors in the district. Yet, even with that achievement, I still see the coming battles, such as explaining why newly hired art teachers must be certified in art. You and I know, even outside of the context of the learning we are doing in this class on American Studio Craft, that what we art instructors teach goes way beyond how to cut a paper and how to hold a paint brush.
ReplyDeleteReading about the developing programs for art learners in the 1930s is exciting, especially so when I make modern day connections to those centers still in operation, such as Cranbrook. In our reading we've watched as art institutions morph and change into something that we will recognize from our own college experience. Maija Grotell comes as a surprise with her approach to teaching; throwing out the idea of a step-by-step dispensation of process, she encourages personal response and personal expression. I was wonderfully surprised to read that she would work on her own oeuvre through the night and be showered, ready to teach again the next morning. Reading about Charles Harder, Arthur Baggs, and Glen Lukens, I couldn't help but reflect back to my own ceramics instructors. And also think, am I making a choice either art instructor or artist? There's an element of personal sacrifice when one decides to teach art; limitations in time, energy, and inspiration must be balanced in order to continue in personal growth. Reading about Harder it seemed his great life's work was as an educator and administrator, although he did also make ceramic art works. Yet reading about Lukens, "an innovator without precedent," we see someone who experimented, created, and made waves in the ceramic world as he taught everything from high school to college. Both were important in the evolving of art education; perhaps personality and personal prioritization make the difference in how one handles the struggle between educating and creating.
Best wishes with your vote and grant.
DeleteMy mom was an old home economics teacher, she used to say, "if we argue that kids find themselves through sports, it follows that some kids find themselves through cooking or sewing."
My heart is full of support.
great thoughts
DeleteIf learning is an ever changing concept then how we house learning must also change.
For me the main concern is how we take care of ourselves...when i forget to think about me or put aside making art, I am not a kind nor fair teacher because I am out of balanced and resentful of the time I assume my students to have.
Lynn, I will use your mother's wisdom when communicating my passion for the arts! It is so true that we all find our identity through many means. The great part about (visual) art is that it can overlap so many other disciplines, thus affecting many lives.
DeleteFuture, I'm slowly learning how to balance my time with my devotion to my students. I have to remember that if I am not making and working through my creative process, I can't be my best for my students. It's just how I'm built. I'm trying not to beat myself up right now, because I haven't had my hands in clay or wax when I'm at home, but I do consider the stripping, scrapping, sanding of my floors to be almost a creative process for me. It achieves some of the same positives as sculpting/painting/sewing: repetitive in nature, allows my brain to think/process, keeps my hands occupied.
Great common sense from you mother Lynn, especially for Texans.
DeleteEmily, what was the outcome the school board voted for? I am eager to know! That is a wise mother you have Lynn! That quote is so true on so many levels.
DeleteEmily,a thought...try switching the statement around a bit to"making art takes personal sacrifice...if you had another kind of day job you would still feel drained/worn out/ used up. I think we forget to put our passion first, slowly over time we keep putting it to the side until it is forgotten.
DeleteWhen it comes to answering the "perfect school" inquiry, I'd opt for a balanced approach. Open-ended problem solving within specific boundaries (of material, time, design) set by the instructor. Smaller classes to build peer-to-peer and student-to-instructor working relationships. A program that brings in guest speakers--artists, historians, educators, critics--to share fresh ideas and new perspectives. Assessment in the form of group and individual critiques: one-on-one critiques with the instructor throughout the creative process (formative assessments) and feedback from peers. A final critique that draws from the information gathered/covered in the formative assessments that also points to new directions for development and study. Two weeks from today, I'll be back in New Mexico beginning a week long "vacation" with other iron artists. This is my third year participating in an iron casting program through Mesalands Community College where artists and educators from across the US come together to work in the studio for 12-13 hour days, culminating in a day long iron pour. This program has much of what I look for in a learning community: the freedom for me to pursue the art ideas I need to work through, all while surrounded by a diverse group of artists--some hobbyists, some professors/educators, some professional foundry owners--under the watchful eye of an amazing instructor. The fact that the program requires us all coming away from our homes and personal studios to work together in a communal space towards a common goal facilitates an almost "recharging" atmosphere. I come away feeling like an artist again, ready to feed and challenge my students with what I've taken away from my studio time. I look forward to Junction for this very reason--a change of venue; access to a studio; a solid, uninterrupted block of time (3 wks); new artists and instructors to learn from and hopefully add to their learning experience.
ReplyDeleteI love Mesalands Community college. For years I tried to get some sort of arrangement with TTU and their wonderful iron program. Take photos to share with us in Junction. And stories!
DeleteShare this book with them.
I have so much respect for D'Jean--she has built an amazing program out there, basically all on her own. And talk about limitations, she has overcome budgets, location logistics, practically anything you can think of!
DeleteI think it would be wonderful to get something between TTU and Mesalands going. I love that area of the country (although some people might think "what's wrong with her?!"), but there is something about the wide, open skies and the quiet beauty. The Plains must be in my blood.
I will definitely share photos. Every year I say I'm going to shoot video whilst out there and get so wrapped up in the pour, I forget to shoot. I'll practice a little more discipline this year. :)
In my other class a majority of the students said they left Junction feeling like an artist again too…so cool.
Delete( part 2) Handicraft
ReplyDeleteI really like the design of the Jazz Bowl by Schreckengost because of the printmaking quality. The contrast between the black and the blue-violet background remind me of relief prints. I also like the choice of color with the blue, it gives the bowl a jazz or blues feeling to go along with the theme of the bowl. It surprised me to find out Schreckengost lived until 101. I guess all that clay work worked in his favor with his health.
I never thought about furniture like Walter Von Nessen's theology. It makes sense that " cutting edge design proved to be good business" (p.169). I like his contemporary design for furniture. My taste for modern verses old fashion furniture seems to be something I battle with. It is not a clean cut answer for me. I appreciate both modern and old fashioned furniture for different reasons. My dad and step mom's house is full of old fashioned furniture that was hand made by our family or bought by relatives. Growing up, I have been surrounded by only that type of furniture at my dad's house. My mother had more of a modern feel for her furniture at her house. My interest in art lead me to see more modern designed furniture and develop my interest. I admire Nessen's " minimalist" design that seem more like sculptures then just furniture. To further investigate his design I visited http://www.nessenlighting.com/ and found more information on how Nessen's Lighting got started and more about his life. Looking at the lamps on this site seems very plain compared to old fashioned lamps. However, reading about his life makes me appreciate the lamps and his furniture. I want to know if I actually have one if my parents do. I have never looked at who makes my lamps, but more about the way they match my room. When I moved in my apt, I inherited some lamps for my place. I only choose the lamps that where my style with the rest of my things. I love Wharton Esherick's thoughts on furniture. " Furniture was typically defined by its use and how people approached it, and to think of it as sculpture was a breakthrough achieved by no other designer of the period" (p. 170). Do we as people look at furniture as sculpture ? I think most people just sees furniture for their comport and its fabric or material its made out of to compare it to the room it is in. Furniture makers are artist or a designer, that is an argument to have. I believe it is both. Because it seems that a lot of furniture is mass produced, I think it looses its creditability to be artwork instead of just a design.
I loved the Jazz Bowl too!
DeleteYou know, I thought I had seen the Jazz Bowl at the Met in NY, but saw it was listed from another collection. So I wonder if the bowl I saw at the Met was the "similar" bowl that the book alludes to. It was quite an impressive piece.
DeleteWhat I thought was strange was who purchased the bowl, Eleanor Roosevelt. She hardly seems like the jazz type, and I wonder why she purchased it.
DeleteDebbie, I thought the exact thing. That really surprised me when I read that she bought the jazz bowl. I guess that goes to show us that people are more than what we read or hear about. I guess if we would have known her personally we probably would have known that she actually likes jazz and pottery at that!
DeleteHi All!
ReplyDeleteIt's been a heck of a week! Sorry for my late hour of posting. I was so looking forward to this chapter because so many of my design heroes began their work during this period. I have to say that I was a bit disappointed. I am "stupid crazy" (obsessed) about the modernism movement and the industrial designers of that period. I was please to see Nagy and Albers discussed, but surprised that their influence was not given the weight that I'd hoped. I was also surprised to see Naguchi's profile so lightly approached. Again his influence is tremendous. His lamp forms are to die for!! I was still surprised to see so much ceramic coverage of lesser knowns and less emphasis placed on glass artists who where doing a lot during this period. Blenko in WV was super active in the 1930s. I did love the coverage of Grotell and her Cranbrook accomplishments.
I was impressed with Grotell and Lukens, and of course old Lucy from Penland, her accomplishments cannot be denied. I'd heard of Glen Lukens from his contributions to studio glass, but had no idea that he was such an accomplished potter. Funny how the followers of a particular medium can filter the information they promote. I'm sure that many mediums are that way.I would own both the Grotell and the Lukens pieces. I was also impressed by Russell and Mary Wright. I had read articles about them in Modernism magazine in the past, and have seen many photos of their works. I was amazed at their marketing savvy. I'd love to own that complete set of dishware. I've seen photos of their other work in textiles, furniture, and lighting, and it's all equally fabulous, clean, and unique.
What I'm taking away is an understanding that American craft is not as black and white as I thought. In this decade (1930's) global influences really began to take hold in design and I think the idea of "Americanism" in design was just a political manipulation. The influence of French, Austrian and German design was heavy and pronounced, but the labeling of the new moderne emerging styles were modern "American Dream." Ws this isolationist propaganda due to the the war? It's all interesting to me. I'd love to know more about this period from an international perspective.
I think it is fair that there are artists that each of us love that are not given more time. I can not even imagine taking on the task of this book, I am just happy they did. I especially like the introduction at the beginning of each chapter because i am the type of learner that wants a whole picture as well as the details. I think cool glass has been overlooked much like enamels. I do not know why, just an observation.
DeleteI agree too that there wasn't much discussion of glass work--but what was there in this chapter was great information to read. I have a couple Blenko pieces and would have been interested to hear how they fit into the art production during 1930s. I'm hoping that we will hear of Fenton glass...maybe, maybe?...as we move into the 40s and 50s. When it comes to things I collect, I never really know whether it was "kitsch" or "serious" work, I just collect what I like. So we'll see what gets covered or not. I have a ceramic boot that was a present to my mom and dad at their 1973 wedding; my mom thinks it's tackier than all get out, but I really like it (therefore, I took it to my house). :)
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DeleteI have thought about the glass work as well. I am eager to see if the author mentions Murano, Italy more. I have been to Murano twice and the entire island is basically glass. It was one of the coolest places I have ever been to in my life. A friend and I had the opportunity to sit in a studio and watch two artist blow a glass chandelier in about 20mins. The chandelier was huge! I could not believe how fast they made it. It was amazing to watch. I uploaded two pictures in the post (Murano Glass Studio/Chandelier) of the studio/artist and one of the chandelier.
DeleteThe focus of this book is American Studio Craft...a big order and more importantly a wonderful addition to what we already know from our Euro-centered art histories.
DeleteThe part that surprised me and inspired me the most was the Education section of the chapter. I found it so interesting to read about the different schools and their methods. My favorite was Penland because it seems so carefree. They didn’t have grades or a curriculum and teachers and students formed lasting relationships. This is what I picture Junction being. This is also what I image my dream school would be. We actually wrote about his in my undergrad Art Ed class and thinking back my essay sounds a lot like what I know about Junction now. The book we were reflecting on then was “On the Side of the Child, Summerhill Revisited” by William Ayers. The author presents A. S. Neill the founder of Summerhill who understands the importance of choice, voice, and respect in the lives of young students and he honors and celebrates it. Except for the grading part, I picture my ideal school in a rural setting away from the distraction of the city where nature is the strongest force. My ideal school would have lots of windows in each building where the sunlight would serve as natural lighting during the day. I would love to be in school where we are free to look out the window and be inspired by nature and the peacefulness of the outdoors. Money being no object, I would have all the supplies necessary to complete each class. The faculty would be other artists, sometimes even ourselves. We would all learn from each other, not just a person who stands in front of the room and tells us what to do and how to do it. That’s one of the things that drew me to the TTU program; that I wasn’t viewed as another number to their program but an individual artist who could contribute. As the book states, Penland was “relaxed, democratic atmosphere. Students and teachers ate together, worked together, and sometimes forged lasting personal bonds.” That’s what I picture an ideal educational setting.
ReplyDeleteSomething that inspired me and that I’m taking away with me is Grotell’s section of the chapter. The book mentions her being an educator and that she kept her work away from students as to not encourage copying. She wanted students to be creative on their own and not follow a specific example. In doing so, she became a mentor to many artists who became leaders of their generation. As a teacher, this is something I can work on. When I teach, I show students the process of the project we are working on by completing it at the same time they’re working on it. This helps me work at the same pace with them and if any questions come up we can answer them as we complete the project together.
I have had teachers that show their work and those that have hidden their work. I prefer the former because I have a very West Texas attitude on "talk is cheap"...meaning if you are going to talk to me about my work then I need to see your work and what/where you come from. Just not much time for BS on any level.
DeleteI especially learned to not respect clay folks that left out a chemical when "sharing" their glazes.
I agree with you on having no grades, just mastery of a particular medium, and that we should all teach each other, for I sometimes learn best from other students. Faculty should be facilitators not dictators, and encourageing and supportive in your work.
DeleteI still think that grading is an important part of learning. As long as the person grading is taking the time to do careful, meaningful assessments a grade is great feedback to the learner. Should we get hung up on bad grades? No, I have plenty of "Fs" in my past and I still have a pretty healthy self esteem. :)
DeleteWhat is a grade? Hopefully the instructor has clearly laid out an over-view of the coursework (syllabus) and with each assignment has clearly laid out expectations (rubric?) for the student. Open discussion is a part of learning; formative assessments throughout the process (like critiques or midterm grades) give feedback to the learner about the progress that is needed before the end of the course.
Now I will say that there are times I learned WAAAAY more from an F experience than an A experience. So really, what you, the learner, take away from a class, truly is all up to you.
Rebeca, I found a lot of inspiration from Grotell and her teachings as well. I also found it interesting that “in 1936 she became the first woman to win an important prize in the Ceramic National and the Boston Society of Arts and Crafts named her the master craftsman in 1938”, (pp. 159). This was amazing but the fact that she got offered the job at Cranbrook when they actually preferred a man, shows great accomplishment in my eyes as well. Especially during the 30’s…
DeleteOk, here's my go on the perfect craft school environment! I loved, loved, loved, my experience at Junction!
ReplyDeleteHere's what made it so great:
1. Isolation-it's really important to isolate yourself from TV, newspapers, texts, Facebook, etc and just concentrate on your art/studies. Being situated in a more remote setting allows for mental separation from the bustle of daily life.
2. Communal living-the community aspect of the experience is really important to me to create a sense of trust and safety. I must have an emotionally safe environment in which to work.
3. Inclusive amenities-I love the fact that I don't have to cook and clean and deal with mundane chores at Junction. All of that is taken care of for me. I can concentrate on my studies and truly immerse myself in growing without having to feel stressed.
4. Variety-The influence of other artists working in varied mediums is really positive for me. My exposure to what others are doing and being able to observe, discuss, and learn from my peers is a gift. For me it would be so boring if everyone were working in the same medium on campus.
5. Structure with freedom-I think the structure of class time, studio time, and campus time is a perfect fit at Junction.
6. Attitude-The attitude from the staff, instructors, and students at Junction was inclusive, positive, and stressed self reflection. My classes, and I don't know if they're all like this, drew the students together as a group. We made our own little 3 week families, who rooted each other on and made it safe and important to try new things, take chances, and explore. There were a few outliers who didn't quit mesh, but all in all everyone promoted each others growth.
I have attended classes at Arrowmont School in Tennessee, which is one of "the" east coast craft schools, like John C. Campbell, Haystack, Penland, etc. Arrowmont was beautiful, steeped in tradition, and had great facilities, but it lacked warmth to me. The teacher was more rigid and the structure was almost non existent. I had fun and learned some "stuff" but didn't love it like Junction.
Of course, everyone is different. Some of my bunk mates felt too isolated, needed more freedom, etc. Everything can't be the perfect fit for everyone. I am lucky. I live 90 minutes way so I could go home on weekends for clean underwear!!
The hardest thing I had to do at junction was self reflection, about yourself and your work. I am becoming better at it,thanks to our classes.
DeleteThank you both. The hardest question we ask is "what do you want to do". So often we have been told what we had to do, when we had to do it and what it was to mean to us that we forget or at least I forgot what it was like to follow my visions.
DeleteGail, you make me even more excited for my time at Junction (is that even possible?!). Thanks for sharing of the experience you had while there. I also really appreciate hearing about your time at other institutions of learning. A lot of the time, the feel of a place has more to do with the people in charge (those that set up the experience) than the attendees--although awkward or angry peers can be a drain. What a validation for an instructor to hear how comfortable students feel in the learning environment they designed.
DeleteHas everyone in this class been to Junction except for me? I can barely contain myself with excitement about going now. You all and your experiences at Junction have shown me the light. 90mins away? That’s ideal. I think the hardest part for me will be living 8hours away from Junction and not being able to just run home in case there is an emergency since my husband is gone.
DeleteI haven't been to Junction either, Brea, but reading all these comments gets me excited to be there this summer.
DeleteWhat surprised me?
ReplyDeleteWhat surprised me was that ceramics were rarely taught in the first part of the century, and that very few institutions had any advanced knowledge about ceramics, and anyone who did want to work in ceramics had to do so by trial and error. I thought that potters all had the basic training and skills in glazing, clays, and types of firing. Weren’t these skills learned by immigrants overseas, and then brought to the States? Several other things that surprised me were how potters in the States did not commonly throw on the wheel, and that low fired ceramics were used versus high fire. I always believed ceramics to be an art, not a craft. Until the 1930’s ceramics were not practiced at the university or college level, but was considered a trade, taught as an apprentice or in community education programs. Another surprise was that a ceramicist named Russel Wright came up with ceramic dinnerware that was not only appealing, but affordable. He termed it mix-and-match dinnerware, which fit the informal American lifestyle, and “that the forms of his dishes approached the organic, and unlike china, they invited handling.” (p.164)What was interesting about him is that he capitalized on craftsman ideals, but wanted to mass market his product. The last thing to surprise me was the definition of European Modernism. “That every part of design should contribute to use and anything else should be stripped away. Beauty was to be found in the start lines of pure form rendered in contemporary materials.”(p.177) Functionalism was felt that decoration had symbolic purposes. This gives me a much deeper understanding of modernism.
What impressed me?
What impressed me the most was the WPA movement. I knew of the efforts of the government to put to work various artist and craftsman during the depression, but what I did not know was how large the program was, and for how long it lasted. The basic WPA goal was “the preservation of craft traditions and education for common people.” (p.147) Community art programs had sponsored projects or focused on medians. The government craft projects were not all uniform. Some teacher’s, artists, and other programs targeted traditional or revival crafts, and many addressed minority groups. They also constructed buildings in national parks, making everything from the building, to the furnishings, and linens. I remember going to the Grand Canyon and being awed by the structures built during this time. The buildings were artfully designed, used natural materials found within the canyon, so as to make it a part of the landscape. I am not sure how long the WPA program lasted, but I pieced together from our reading that it lasted from about 1933-1943. After 1938 a law was passed stating that the WPA projects could not compete with manufactured products. What I don’t understand about this is how the manufacturers could possibly think that the WPA program was taking away any of their business, for the program was not on such a scale that would hurt businesses. It’s just further competition that big businesses wanted to eliminate no matter how small the threat. After the 1938 non- compete law the WPA focused its programs on education, recreation, public works and preservation. It was still a great program, even if it was limiting craftsman’s work.
“That every part of design should contribute to use and anything else should be stripped away. Beauty was to be found in the start lines of pure form rendered in contemporary materials.”(p.177) Functionalism was felt that decoration had symbolic purposes. This gives me a much deeper understanding of modernism.
DeleteYour comment here was the same thought process I had after reading that quote when rationalizing modernism and industrial design. I have a few modern pieces in my home but not extremely modern because I haven’t been the one to warm up to this particular type of design. I think it is very artistic but for a home I feel as if it isn’t cozy enough. After reading Makers, I have a new appreciativeness for modernism as well now. I am able to look past what I use to see, and really see the beauty in the design now.
What are you carrying away with you?
ReplyDeleteI am carrying away with me the understanding of how the arts were almost stamped out of existence due to the depression, but through the efforts of the government they were kept alive through the WPA programs. It’s hard to believe that the government would have such an understanding of the importance of craftsman’s skills to society as a whole, and a vision to help keep it alive. I am also carrying away with me how influential the Bauhaus ideology was on American artists, emphasizing abstract form and a non-hierarchical approach to materials.
This is what I believe Junction to be:
The Junction campus is filled with artists of all disciples and experiences. It is a place remote from anything, and far away from family and friends. A place where artists have been coming to for decades to grow and learn with other artists. A simple, home grown place. A place lacking in the latest technology, and equipment. A place where class and gender, or age do not matter. A place where you are welcome to explore other arts, and judgment of ones work does not exist. It is a place where you become a resident of a temporary community, where you are all on the same socioeconomic level for several weeks, living in cabins with 10 or more people, sleeping in bunk beds, eating the same meals together. It is a place where you receive support, encouragement and direction of others. It is a place where you share our personal lives, who you are and where you come from; it’s a healing place. A place where one can rejuvenate not only the mind and the soul, but the physical body as well. The beauty of the hills, and the llano river inviting its visitors to interact with it, an interaction you cannot deny, so you swim, hike, tube, and kayak. Texas Tech-Junction is more than art classes; it is a community of learners.
That was beautiful Debbie. Is it OK if I pass the last paragraph on to Robert and Karen in Junction?
DeleteFuture, that would be awesome if they could put Debbie’s perspective of Junction on the website. Because honestly it was discouraging, (or was for me), to consider attending Junction at first. I was just accepted into grad school last May and my first class was going to be in Junction. I had not conversed with other students yet and I had fear in taking off work to attend a place I knew little about. This statement would have helped me visualize it better if I had read it. Of course, I feel better now, even ecstatic really, since I have met some of the other students and learned about their experiences at Junction.
DeleteI agree it is a little Intimidating at first and is a wonderful description. :)
DeleteI would be honored for you to give this info to karen and robert in junction. I to was afraid of junction, afraid of my inferiority as an artist compared to other artists. After being there this summer I cannot wait to go back.
DeleteWow! I have to admit, I'm a little scared of "not fitting in" but mostly just excited to try it out. After reading your post, I am more inspired to go and be a part of such a great program.
Delete