I find this chapter moving because of the impact and influence of the G.I. Bill on the arts and the crafts movement. I am a military brat and thus have a soft spot in my heart for all military, I am married to a retired Marine and when I was in grad school and a teaching assistant I had some Viet Nam vets in my class. Also I know the attitude was not just more mature or a better working ethic but also a real life sense of humor and no time for mickey mouse classes. No wonder I teach the way I teach.
This chapter also has honors one of my role models...Beatrice Woods. There are some short videos of her on You Tube but I also encourage you to find a copy of her book "I Shock Myself". A wonderful delight. There is a second book on her 100th birthday that is mainly images and short statements. So much life, so much art.
During this same time there was an issue in California called the "Zoot Suit Riots", look it up. There is also a musical/movie. Not the nicest time in our history but still a part of what we are.
So, for the extra question I want you to think about crafts/arts and the relationship to recovery or healing. Think about a time in your life or the life of someone you love. How did it help? Did it help? What was the craft/art? Considering all the issues facing today's education system, what are we doing wrong with the arts
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ReplyDeleteBeatrice Woods reminds me of a grandmother. When I watched a video on tube of her speaking, I noticed her voice first. Her soft gentle voice seems very friendly. I think clay artist make it look so easy. I think working with clay is more challenging then it seems to get the perfect structure that u intended. Her gracefulness with working with clay is something that I wish I had.
When I think about the hard times in my life, I remember turning to my artwork afterwords and the results because of it. Working on my paintings have allowed me to reflect and heal after unfortunate events. It seems like when painting, I find happiness in the process so I feel like it heals me. I like to watch the paint react and become one with the canvas.
During the time of war, it can be a hard time. Since materials need to go to the effort of war it makes sense that art materials would suffer. I would like to know exactly what materials were taken away from the art world and used for weapons. As I continued to read about jewelry making, they talked about the metals going to the war effort. Metal is something that first came to mind. However, brass and nickel were surprising to me cause I did not know that bullet casings are made out of them. Using low cost materials to make art make sense during this time. Because of a low school budget, I feel like I have some relation to this time in using recycled materials and low cost supplies. Even though it must been a hard time to live in. I can also relate to reading about the "jack-of-all-trades teachers" (p.182). Having a wide range of art skills is a personal goal of mine. I found it interesting that the new foundation courses in collage taught composition with an abstract approach before they focused on teaching to draw realistically. I tried an activity with my art 2 class with painting abstractly and found that some students have a natural eye for composition and unity, but some do not. We had a discussion on why the paintings that had good composition looked finished and compared them to the others. We also commented on how we could make the unfinished ones seem finished. However, because I teach middle school, I had some students not get the lesson all together because they think it is easier then it looks. Middle school students seem to have a hard time understanding abstract artist and do not appreciate the work as much unless it is realistically done. " Art instruction should encourage exploration and experimentation in many media at all levels" ( p.183). When I introduced my students to abstract art and those idea of composition, they understood balancing their painting by color. We used oil pastels and watercolor in this activity. I try to introduce my students to as many different ways to express them selves.
I so enjoyed the Beatrice Woods video on YouTube as well, I was at Half Price books on Monday and found a copy of "I Shock Myself" for $4.99, a steal, it was much more on amazon. So check out your local half price. I started reading it and finished it in a few days, around reading the chapter. Of the many experiences I take aways from this chapter (and her book) the quote at the end of the section on Beatrice Woods "But one has to choose whether to be a specialist in art,...or whether to bring art into living, thereby losing some of the virtuosity which it it possible to achieve in isolation" then saying how she "choose life" is inspiring. This balance is so hard to choose/find. My father worked for Voice of America and USIA in India and the dates she visited in Indian were when we were stationed there, but sadly as a elementary school student I don't remember her. We went to many "cultural exchange" events, but I really just remember the ones that were more kid oriented like children authors or actors. I will be going through the many photos & interviews he did to see if she is included in his papers.
DeleteFunny comment with regards to repurposed wartime materials--
DeleteThe wartime discontinued uranium glaze--probably saved more lives on the home front than they imagined (given the carcinogenic quality of uranium)
Completely unrelated to craft but sweet in a funny quirky way:
When I was looking up Marguerite Wildenhain trying to figure out her time in Dallas. I looked up war time Neimans. Stanley Marcus helped promote nylons for hosiery with a stocking of the month club and encouraged men to wear saggy socks to save on rubber which went into elastic.
Last night I watched the few videos on Beatrice Woods with my husband. We were both sort of mesmerized. She was 98 at the time of the videos and still loading her kiln, mixing her glazes, and throwing. Although I knew she was quite old, she seemed to me to be quite the hipster. I loved when she was talking about when she met Duchamp and Roche and how they were a wonderful trio of sorts. Her discussion about her personal rebellion was interesting too. Growing up a person of privilege must have allowed her a certain freedom to rebel, which was kind of fashionable in 1919. When I'm 98, I hope I'm wearing funky jewelry and loading my kiln!
DeleteDuring the war a number of items were rationed...rubber, nylon, gasoline, sugar, cloth...according to my mother everyone felt like they were helping the war effort by giving up these things. This is the reasoning behind the Zoot Suit Riots...marines felt the Hispanic population was using too much cloth in their clothing and literally wanted to tare the clothing off them.
DeleteAs for abstract...I believe it takes a special mind set to understand and excel at this style of art. Many college age students also fail or do poorly. Two things that help is the context of the work...why would anyone want to paint like "that" and working large. When I could give my Jr High kids raw canvas that we put on the floor it all made sense.
Most of our essays deal more with adults than actual public school age kids. The concept of everything we try to teach in a matter of 45 minutes is insane. The ideal of an time/one focus is ofter not welcomed or allowed.
Melanie, I was captured by her voice too. You all were so right, she definitely is memorizing. I like how in one of her videos she said she loves folk art and she calls her figures "sophisticated primitives” and she struggles with bringing them into “being”. It likes she gives them a soul. I love this because it shows your connection with her work and I can see how each piece is a part of her soul. She then goes on to say a technique would be easier but that would mean they wouldn’t be different. I think that quote shows how connection differs from handcrafted to machine made. Thanks for telling us that Beatrice Woods was on YouTube Melanie. I really enjoyed watching her as well!
DeleteMelanie, I watched the video and was amazed at how old she was. She looked like she could barely get around, but through her love of art all things were possible. I loved her studio,which looked somewhat like a chemistry lab. It was interesteing how she made her recipies to glassees, with a little bit of this and that. Kind of like she was baking a cake.
DeleteIn the time if war, soldiers are fighting at war and returning with wounds that are physical and mental. Art could be part of their healing or a solution their problems. Art therapy could be used to heal the mind of a wounded soldier who had been through tragic situations. From experiencing the heal of art, I can understand what benefit hj.mhis could have. I think if I lived during this time, I would be signing up to learn more about the psychiatric treatment art can cause. Even though I am an art teacher, I feel that part of my job is to connect art with my students interest and to provide them with an outlet. However, middle school and high schools are highly focused on the social aspect of their lives, not about solving or dealing with their problems. I have noticed that when one of my students has a "bad" day, they are usually more focused on their artwork. I like it when i see students have their head phones on and are zoned out to their artwork. This reminds me of me when I was a high school student. However, because students are still finding out their interest, I have students in my class that are not interested in art. Even when I try to connect with their interest, it is sometimes difficult to talk them in the benefits of something they do not want to do in the first place.
ReplyDeleteI am surprised that SAC is the first 4year collage to have a 4 year degree in craft in the United States. What is the degree plan like and what are the requirements ? I would be so happy just to take all art classes in a 4 year collage. Although I did like the collage level history classes. I always hated history before I attended North Texas, I has an amazing teacher who made it interesting. I try to think back on that experience and reflect about my teaching style as well. How can I make things more interesting? That is a question I ask myself frequently.
I found it interesting that it was Russel Wright who "foresaw what would happen to studio craft in the 1950s", that "makers turned away from function and toward something much more like sculpture" (p.184). When is a chair considered a sculpture? How much design or change can a chair have to be a sculpture? I believe the more it does not look like a chair, it can be a sculpture, isn't that funny?
When reading about Alexander Calder, I found it surprising that he started with jewelry. When I think of him, I picture his geometric mobiles dancing in the air. I looked up Calder to search for his wire portrait of Josephine Baker. I found all wire portraits very interesting. I like the way each feature is portrayed out from the face line. They have a Picasso resemblance because of the cubist faces.
When I read about Calder I was mad at all the art history professors I had ever had or at least all the modern art history classes, because all I knew was the mobiles...I kept wanted to know who decided that one work of art was IT, the only think we would learn. I now always want to know more about each artist and remember no one just does one work of art.
DeleteAs for making lessons interesting I have found the answer is be interested yourself. Really. If nothing else you are having a great time on something you want to do.
I agree that if you are interested in what you are presenting. the students will pick up on that. I try to draw in lots of things that overlap with their lives that they'll be automatically interested in--like tying into popular books, characters, etc.
DeleteFuture, before reading your summary for chapter 6, I was thinking I couldn’t wait to talk about how craft education roared as a significance of the GI Bill and the influence it had on me personally since my husband has been in the army for 9 years now. It made me smile when I read your comment in the sense that I have the same soft spot as you, as I assume all military families would too. Learning about the GI Bills impact towards craft education was one of my first surprises in this chapter. When you were describing the Vietnam vet students of your class Future, I could picture my husband being one of them because your description fits him to a tee. It made me laugh a little. “By 1951 more than 8 million veterans secured an education, some 2.3 million of them attending colleges and universities. Higher education was no longer restricted to the elite who could afford it” (pp. 182). Knowing the GI Bill alone had an impact on providing education to all instead of the elite was very brilliant. I was shocked though when I read that it was hastily drafted and narrowly passes as a law. It is scary to think it came so close to not happening. I am thankful the author provided all of this information in this chapter since it clearly had an enormous impact on American craft education but also the fact that I could relate to it personally. I feel for the first time that my passion being (arts/crafts) and my husband’s passion being (military) merged together and united as one. Therefore this topic alone in this chapter surprised me, impressed me, and I will forever carry it away with me.
ReplyDeleteThere were many attributes that impressed in this chapter. One, being a quote from Russel Wright that I found really beautiful. “New craft should still be destined for the home, to enliven the domestic environment” (pp. 184). I thought this was beautiful because I feel the craft in my house is what makes it a home for me.
I was also impressed and honor to read about African American potters and seeing/learning about their pottery that was so beautiful and iconic to their heritage.
I was really intrigued when reading about Gertrud and Otto Natzler and the way people were so mesmerized by the way Gretrud threw that it made me google her. There are actually some really cute photos of her throwing and her husband peeking around her shoulder. You can see the posture of her hands around the clay and I could tell there was a dancer like rhythmic as mentioned in this chapter.
Reading about Beatrice Wood definitely impressed me. Clearly her life had a huge impact on a lot of people but one aspect of her work stood out to me. “The title, Settling the Middle East Question, besides being funny, typifies her way of alluding to complex issues of relationships, from personal to political, with these seemingly simple works” (pp. 204). I saw that her work was more than popular design. I felt It exemplified issues we as feminist face. I saw that there was a cause and effect in her work and a story to be told and reasoning for each design.
That is neat that you have that relation now with your husband being in the military. Does he share your interest in art as well? My boyfriend and I share many interest, however he has an interest in art, but does not share my passion with art. Does
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DeleteHe is actually a really good artist. He draws exceptionally well. Even though he has the skills he doesn’t necessarily have the passion for it, therefore never does it. Similar to your boyfriend . However, Ryan does love building furniture though. He has built some really cool bar stools and built one for his dad last Christmas to put in his “Party Barn” haha. I wish I could show you all the furniture he has built. He did really well in sculpting when we was at Tech for a short time before enlisting in the military his freshman year.
DeleteI want to make it clear not every military brat feels the way I do, many resent, even hate the life they were raised in, the life style they endured. There are now a couple of good books on the subject and one documentary and one film ( The Great Santini) that tell the stories of others and their experience. For me it was home, and I still cry when I tell a military person "thank you for your service'.
DeleteVery true Future. I will certainly look into that film. I will also tell my husband. I know he would be interested in it as well. Thank you
DeleteIm lucky to have studied with two guys benefitting from the GI bill today; one is just now going back to school after a long career in the navy, the other was a marine in Afganistan and now is a sculptor considering building tiny houses (have you seen the tiny house movement? In Austin and other cities).
DeleteI can't remember whether my grandfather had finished schooling before he served as a chaplain in the Philippines; I should ask him more about that. He only tells a little about that experience.
I think that it's important for us to continue this for our veterans who put their lives on hold to serve our nation. I'm glad that the GI Bill went through and that we still offer this important service to these men and women.
What else impressed me were a few first time accomplishments for women. The ones below are a few that stood out to me.
ReplyDeleteEdith Heath- Her tile work earned a gold medal from the American Institute of Architects in 1971, the first time it had been awarded to a ceramist (pp. 204). I also really loved her burlap textured ware. I see potters doing this with lace now.
Eva Zeisel- Zeisel’s Museum tableware was given a solo show at MOMA and it was the museum’s first exhibition devoted to a female designer. Also, the fact that she was perhaps the greatest, of the modernist ceramic designers (pp. 205 & 206).
Anni Albers- and that she was the only Bauhaus wife to maintain her own creative identity, separate from her husband’s (pp. 208).
Marli Ehrman- It was charming to read that her students in dedication to her incorporated themselves as the “Marli Weavers” and the group continued until 1991 (pp. 210).
I love this book for the reason it points out all of these accomplishments. I was truly impressed.
The main things I am taking away with me from this chapter, are of course the GI Bill attributes, the history and information provided about African American potters, first time triumphs for women in crafts and that the 40’s were a time of struggle in balancing the old and new, as expressed during the textile arguments.
I took some photos of Eva Zeisel's dining set when I was at MOMA. I posted them on a new blog entry here.
DeleteI wonder if the GI bill applied to women who served....I'm going to look that up.
Ok! I just looked that up and was appalled! Women were not seriously even considered for the educational benefits under the GI Bill. They were not technically excluded, but in the implementation of the program, they were excluded. Here's an excerpt of what I read....
DeleteThe implementation of the GI. Bill enabled many veterans to buy homes, attend schoo~ and explore opportunities that would have been otherwise economically impossible. But the bill, although described as intended for all veterans, did not affect them equally. Women were not even seriously considered eligible for benefits. The V A was tasked with implementing this law. Unfortunately, in the V A's first 50 years, records pertaining to women were not kept. Without this kind of information, there is no possible way to ascertain the true lack of women's ability to prosper under the G.!. Bill. However, what is known is that some women were at one time not eligible for veteran benefits. Add to that, the fact that women of this time were typically expected to be homemakers, and not much more. In a "First Air Force questionnaire on the postwar ambitions of WACS [Women Army Corps] 73 percent declared they wanted 'marriage and home-making." So, it is of no real surprise that women and their educational ambitions under the GI. Bill is not discussed very often.
Women served in the military with all ofthe different branches of service to include: the Women's Army Corps (WACS); Army Nurse Corps; WAVES; Navy Nurse Corps; Women' Marine Corps; and Women Airforce Service Pilots (WASPS).Most ofthese women veterans were afforded veteran status and had the ability to participate in the G.!. Bill as their male counterparts were, but not all. WASPS were not eligible for veteran status as some oftheir counterparts in other services. As a result, these women missed the opportunity to better themselves.
"Jean Ebbert and Marie-Beth Hall, Crossed Currents: Navy Women in a Century ofChange. (Washington: Brassey, 1999),340.
"Doria Higgins, '''After the Army-What?' Women in Uniform Ask," Washington Post, 19 August 1944, Section IV, I
" Higgins, I.ves
Through the veteran-only programs. WASPS were not granted veteran status until 1977. This status changed in an amendment attached to the G.I. Improvement Act signed into law on 23 November 1977 by President Carter.
Not the original G.I. Bill, but a subsequent bill helped them garner veteran status. A powerful reminder ofhow important this law has become. An article noted that in 1940 the percentage ofwomen as students in college was 40 percent. By 1947, that percentage dropped to 29 percent because the GI Bill typically benefitted men and not women.
It is obvious that women were not finding their niche in colleges in the post WWlI era. The true nature of how lopsided this law treated women may never truly be known. Women may have had hardships under this law, but they were not the only group that experienced some sort ofbias.
Yikes, I also had not realized that women were not included in the original GI Bill. I know my sister was included in the Vietnam era GI Bill. It is always a wake up call to see how much legal access to jobs benefits etc are still so new and still being won. I remember being surprised when someone mentioned that Harvard & Princeton did not even admit women until the late 1960's.
DeleteGail, good idea to look that up! I had not thought of that either! I wonder if women had been qualified for the GI Bill, if it would have had an even bigger impacted on craft education since we have read that a majority of craft students were women? I would assume so since there were a lot of women that became military nurses during WWII as well as other titles, but definitely nurses. My husband was telling me just recently, that if you are on the post 9/11 GI Bill, that your spouse can qualify to use your GI Bill. I thought that was pretty cool and we looked into it but Ryan wasn’t on the post 9/11 GI Bill therefore he didn’t qualify. Bummer… That is an interesting fact about Harvard and Princeton, Martha. It surprises me as well.
DeleteWonderful work. Another reason I worked for women's rights in the 1970's. Remember for many women in the service, just having a full time job that was a career was a HUGE step.
DeleteI liked that Edith's pots were difficult to distinguish from slip cast work--her craftsmanship must have been so amazing to create pieces that appear to be entirely uniform. THat isn't something that I shoot for in my own clay work, but I can really appreciate those meticulous artists that make precise work.
DeleteI too enjoyed reading about Anni Albers standing on her own as an artist/designer in a time when the husband/wife creative team seemed to be mainly the husband's gig.
My mothers cousin was a Wasp during WWII. I am not sure if she was eligible for any benefits. She would fly bombers from the factory to a military base. I don't think that she was even given serious thought by society as being a woman pilot.
DeleteI guess I will get a little personal with these stories. There are two main times in my life that craft/art help me heal. One is painting a few of the sunset pictures my mom collected but particularly painting the sunset picture I took the evening she died. She loved sunsets so much and ironically she died as the sun was about to set, so I got a picture right afterwards. I painted it last year after I had a really bad night and it really healed me more than anything else. It now brings comfort to me every time I walk into my house.
ReplyDeleteThe other one is really sweet and my husband would kill me for telling everyone this. During his deployments in Iraq he didn’t have a lot of time to talk to me and there was a period I went six months without hearing from him, so when he did write me he would in every email write me a poem. He made all of them up and some were funny and silly and some were sad but he always expressed his emotions and feelings to me in them. I collected hundreds over the years and during my senior year of my undergrad I printed them on transparent paper and using some cyanotype liquid and the sun, I transferred them on to canvas for a blueprint image and made a wall-hanging out of them. It brings comfort to me now that he is overseas again and it helped me get through his deployment my senior year.
Brea your cyanotype wall hanging sounds beautiful. A collaborative work of the heart. For some reason I imagine the wall hanging being able to blow in the wind like Tibetan prayer flags.
ReplyDeleteYou remind me of my high school years when my father was in Vietnam. Letters we received were so chereished, especially for my mother of course. Phone calls were almost unheard of and planned way in advance sometimes with a telegram saying when he would call.
Aww, thank you Martha. Yes, I can certainly relate to that! Since I am an emotional artist, it came in handy being emotional during my undergrad. I know that sounds a little odd, but I don’t think I would have found my true artistic self without going through what I did, during my undergrad. I find it ironic now that I decided to go back to school as soon as my husband deployed again after being home for 3 ½ years. Its like, “Ok, I am on an emotional rollercoaster so let’s go back to school and take advantage”! LOL.
DeleteArt holds all emotions...up, down, sideways, no ways, every way. Thank you for sharing Brea.
DeleteI undertand that emotional rollercoaster; I can't imagine what it is like to have your husband leave for such ling periods of time. I'm glad that you have an outlet like art making to help you express what your are going through, rather than trying to keep it all contained. Containment was a theme of mine artistically--I guess it could still be if you consider my hollow welded forms. It gets to hard to keep everything "compactly packed" in our emotional luggage.
DeleteBrea what a awonderful that you wanted to incapsulate the words of your husband in art. It not only has deep meaning for you, but will so for your children.
ReplyDeleteI totally agree. :)
DeleteWhat surprised me?
ReplyDeleteHow crafts were becoming part of the foundation of Universities and colleges, and how abstraction was introduced to the arts, as a result of the end of the war, immigration, the Bauhaus influence, and the GI Bill.
In 1949 the NAEA determined that “Art instruction should encourage exploration and experimentation in many media at all levels” (p.183). This opened areas for ceramics, jewelry, and other craft studies. The emphasis on experimentation above vocational training was at a first. Craft was beginning to be viewed as an art form and became part of the educational programs for students wanting to teach, which helped high school teachers, and developed a high demand for. When I think about crafts or vacations being taught at the High School level, I think back to when I was in high school during the late 70’s. There had already been a distinction made in ceramics as being an art, and thus taught in the art department, however; wood shop was still considered a vocation, and taught in the vocation department. In the wood shop students learned to use a lathe, and the practical applications of it. Other things taught in vocation were not craft oriented, but business practices, cosmetology, and auto shop.
In the 20’s and 30’s most local and regional craft organizations were independent, there was not a national forum. There were few opportunities to share information, and few major periodicals devoted to the crafts. Then along came Aileen Osborn Webb a very wealthy socialite, who used here resources to help develop urban markets for rural crafts. She established a national league for craftsman, The American Craftsman Educational Council. It published magazines operated the American House where exhibitions were shown, had a library, and informative programs. The council was also instrumental in founding the first college dedicated to crafts. When I think back to the lives of my grandparents in the rural areas of Texas in the 20’s and 30’s I do not envision the same opportunities for crafts being available to them. Cotton was the major industry of the time, and most of the population was very poor. I don’t believe that most of Texas even had electricity, until Senator Johnson set up LCRA. So I still wander if this program was very successful for the common man, a certain geographical location, and to what success it had in Texas?
Hey Deb! I really didn't even think about the regional differences until you mentioned that. My grandparents and parents were in Baltimore City during the 40's. Russian immigrants who came in 1897. Although they had become citizens, they were still on the margins. My great uncles were WWII vets but didn't participate in veterans programs. There was still quite a bit of prejudice then against Jews, Hispanics, and Women. My history is clouded by the urban settings, so i didn't think beyond that until you mentioned this. Thanks for opening up my perspective.
DeleteFor some reason I still feel like Fashion Design is still consider a vocation. I was honestly surprised when I did my orientation at Tech and discovered that the fashion design and interior design department was in the human resource building and not the art building like architecture was. I had asked our head professor this question and she said, “Fashion” is design not “Art” therefore it is not in the art building. But isn’t architecture design too? It makes me think of the quote Albers said, “I find that, when the work is made with threads, it’s considered a craft; when it’s on paper, it’s considered art” (pp. 209). I would assume fashion design is a craft then right? Fashion Designers create new textiles, weaving, knitting, dying, screen printing and much more so it’s not just design. Future, do you know why the separation?
DeleteGood point. Women and men have always made things...quilts, dollies, saddles, ropes, muffler men, little cared works for found wood...something/anything/everything. The issue seems to be what was recorded or even shared beyond a family.The works we are looking at and studying somehow made it to the outside world, which is much easier when you live in a city.
DeleteI would say county fairs and stock shows would have been the galleries of the open plains.
What impressed me?
ReplyDeleteWhat impressed me the most was the effects of the GI bill had on crafts education, and society in general. The GI bill was established as a social safety net for returning soldiers. “It ensured hospitalization of wounded vets, guaranteed unemployment benefits, and offered low-interest loans for the purchase of homes and businesses. It also provided free tuition and other support for higher education.” (p.182) The GI bill transformed American society; it expanded the housing market, made higher education available to all. It also helped establish the first Masters of Fine arts, which was the first craft program in the country to do so. The college of ceramics was “confined to a few art schools and universities and only for subjects like painting and sculpture. “ (p.182) filled to capacity with students that were more mature and motivated, and wanted courses with practical benefits. The GI bill has affected my family through three generations, and in more than one way. My grandfather used it to purchase his first home, my father to get his degree with, and my nephew to get his degree with. I am not sure how the GI bill has morphed since its original enactment, but I feel that has been done a great good to society, even though it falls short in current times. It is a great way to support our countrymen who have done so much to fight for our freedom.
The next thing that impressed me was the changes that came about in the crafts movement. Abstract design was beginning to be influenced by it. The Bauhaus, theories on abstract design were being used in Universities and colleges; it was defined as the properties of visual experiences. Classes were being required in abstract design and its application to design principles. For the first time crafts were being taught abstract composition, rather than application of conventional motifs to surfaces. Basically crafts were turning away from ornamentation.
At the same time there was a new usage of materials being explored. Charles and Ray Eames explored the usages of plywood in seating. James Prestini was using an industrial tool, the lathe, to create simplistic bowls with the sole objective being pure pleasure, it was modern sculpture. In jewelry painters and sculptures were taking up jewelry design, putting their arts background to design jewelry as either a painting or a sculpture. These artists-jewelers approached their medium from an artist’s approach, not a craftsman. Their work was sculptural in form, self-expressive, and the workmanship not as important as the statement being made by the artists. Their work included recycled metals, jewels, and oddities, such as a taxidermy eye. Art smith believed that a jeweler should consider three elements “materials, space, and the human who wears the object.” (p.190) I wonder if craftsman still have the purest belief in materials, and craftsmanship, or has it changed? For is anything had made considered a craft?
The biggest change came about in ceramics. Gertrud and Otto Natzler, made many contributions to ceramics of the time, for when they immigrated to America they brought with them the potter’s wheel for ceramics. They developed the first wheel to sit at, which became the prototype for all art education institutions. They were also one of the first to not conceal the clay entirely with glazes. They produced pieces with reducing firing techniques to get smoke and flame marks. Their aim was purism, the limit to form and organic integration with glaze. Several Ceramicists that challenged the idealism of industrialization vs. craft were Edith Heath, and Eva Zeisel. Edith Heath made prototypes of dinner ware for industrial production. She stated in ceramic design that the “artists makes the prototypes retaining characteristics of material rather than machines, the machines don’t decide what the shape is going to be; a human being has to decide that. So I felt I was just as much in control of what was made as I ever was.” (p.205) Eva Zeisel turned her designs for dinner ware away from the casual to the formal. She became an expert in using porcelain for an all-white dinnerware service. However; she still maintained some of the craftsman ideology in her organic designs and tractability by the user. I was really shocked about the wheel being considered an industrial tool, and that most items in clay were hand built.
ReplyDeleteWhat am I taking away with me?
I am taking away with me the influence the GI bill had on society, and education. How the Bauhaus influenced craftsman and artists work with abstract modernism. How painters and sculptures where crossing the line from artists and producing works typical of craftsman, but with an emphasis from the artists medium. How new materials were being explored, and there was no more the emphasis on purism of materials. How ceramicists maintained their craftsman ideals even though they were collaborating with industrialists. How colleges and universities were offering courses in craftsman arts, elevating them to an artist level, the metamorphosis of the craft industry, the life journey of the artisans, and educators. I have learned that an artist can cross medium lines, and it is considered acceptable.
I know of one experince that my stepfather had in healing through the arts. He is english, stationed in Egypt, and shot and killed a man off the battle field. He knew he was to die and was sitting in prison, when a monk came to give him a needle point tapestry to work on. He was aquited some 6 months later, but believed that the work he did on the tapestry helped him through these times. He then gave it back to the monk as a gift. So yes I believe that art heals, if you have a heart for it.
ReplyDeleteBeautiful story.Thank you for sharing.
DeleteThis story gave me the chills Debbie! Such a powerful message.
Delete? this is a complex question, and one most art educators think about. From what I have experienced in school, students still view art from an aesthetic point of view. When I ask them the symbology, inspiration, or meaning behind their work they cannot answer anything other than I liked it. I wanted to work in a certain medium. So I think that students need to truly understand what art is, and to learn about artists who have had an affect on society.
ReplyDeleteAgreed! I ask my students why they are doing certain things, or why did they make a certain choice and they don't seem to know. I thought is was the perfect concept when the BIG 3 was mentioned about Marguerite Wildenhain; idea-process-material...
DeleteI had similar experiences when in high school. In retrospect I am thankful for how my teacher approached the task of making us aware of our concepts. We were first taught basic design and composition (line, space, depth, ect.) at the beginning of the year through structured "workshops" reading, sketches, and conversation. After that we were given open prompts that would require some design element. My teacher would constantly ask "Why" while we were working. "Why did you use this texture?"... And like many I wouldn't have a response or because I "liked" it. The explanation was not necessarily important, but the constant question stuck with me.
DeleteIt was not till the end of my first year in art that I realized my work could be just more than aesthetically pleasing. More than a bowl or teapot. I began making conscious decisions (loosely defined) when designing and making art based off what I had learned. I know this is a basic curriculum and every student is different, but for me it was enough. I was shown to be conscious of my decisions while remembering basic skills and techniques, and applying that to a material/medium. In return I became more attached to what I was doing, ultimately to where I wanted to continue pursuing art.
We each learn differently. This is the exciting part of education...the different views/ motive/ reasons. It was not till my senior year of high school that I made the jump away from traditional representation to a more emotional symbolism. I giant step that I recall happen with one assignment. Do not remember the actual lesson but I still have the piece of art I made.
DeleteI was that student until college actually. I think I couldn’t really see because I didn’t know what type of person or artist I was yet. I remember looking back on my artwork from high school after I graduated college and I found a few pieces at my dad’s house and I remember thinking, wow that looks totally different than what I remember….I think it because I see it differently now.
DeleteA lot of teaching is just getting students to stop and think. I reflect back on today's crazy whirl of activity from weaving to texturing papers to constructing with clay. Even in all the craziness of activity I really try to remind them to "think." As dorky as it is, I've been using the metaphor lately that their brain is a bus and someone needs to be driving it. I can't jump in there--so they'll gotta get behind the wheel and direct the bus where to go!!! This is my newest strategy since beating the dead horse too long ("you can lead a horse to water, but you can't make him drink" is up in both classrooms).
DeleteSo true, Debbie. I also get them same answers when I ask my students about their works. Sometimes I try to get them to write stories about their works to get them to think about what they're putting on their paper other than just "pretty" things but things that they find a meaning to.
DeleteHere's what surprised me in this chapter; Commercialism! During the 1940's the lines between craftsman/designer and commercial manufacturer became even more blurred. I knew that the Bauhaus had significant influence over American design. What I didn't realize was that during this decade the blend of post war opportunity and the emerging middle class would create such an opening for craft designers work to mass marketed and so commercial. I'm in awe of how Charles and Ray Eames, Marianne Strengell, Anni Albers, Edith Heath, Maurice Heaton, and Eva Zeisel were able to be involved in so many commercial endeavors and still create work of their own. They managed to escape being owned by the manufacturers and still maintained their independence as artists.
ReplyDeleteI was inspired by work from Edith Heath. I loved the burlap textured ware. I've known about Maurice Heaton since I am a glass lover, but didn't realize his worked was enameled, fused and slumped. That was tough work in the 1940s. It's so much easier today. I was also impressed by Marguerite Wildenhain. She had a long and storied career and seemed to be an inspiring instructor. She's a model for me as a teacher. I love that she's described as independent and having integrity. She seemed really strong. I'm going to research her more.
My take away from this chapter is respect. I respect what the GI Bill provided to veterans. The commitment to education on all levels, craft and design included, is important and shows our country's reverence for their service. Many of my students have received GI Bill funding for their educational endeavors. I'm humbled that I can play my small part.
I love how you said that Marguerite Wildenhain seemed strong. That is a perfect description for a lot of these women in this book. For what they have accomplished especially during that time period is strong beyond belief.
DeleteGirl power! Haha! The women described in this book are definitely role models. I especially think of what they have accomplished when I'm losing a bit of my self esteem.
DeleteThe wounded warriors center is here in San Antonio. I provide glass to Paul, a retired veteran who teaches glass bead making to the vets there. He fought in Vietnam and told me stories of how he still suffers from PTSD at times. He credits working with glass as well as teaching other vets with assisting in his recovery. He is quite gruff, but has a warm heart.
ReplyDeleteFrom my personal experience art/craft is a transformative experience. I have students tell me that learning glass technique, metals, or jewelry design and construction, "....has saved my life." The importance of empowerment cannot be understated.
I feel so lucky that I was laid off from my corporate job. I discovered my craft when I was trying to keep myself calm while looking for a job. I never thought that 12 years later I'd be teaching students who would also use craft to transform their lives too.
These are really beautiful stories Gail. I can tell you definitely have a helping hand.
DeleteLife has a wonderful way of allowing us to live.
DeleteSurprised:
ReplyDeleteOur book mentioned that Marguerite Wildenhain sold her work in Dallas. I figured the time was right for the vendor to be Neiman Marcus. I was surprised to find out that Marguerite Wildenhain actually taught in Dallas.
Invited by the Craft Guild which was formed in 1948 with help from the DMA, Marguerite not only taught and sold her work in Dallas but she was collected by the Fort Worth Modern and the DMA.
http://www.craftguildofdallas.com/history.php
Impressed: Calder!
He was so whimsical and yet so steeped in his time. I was impressed that Josephine Baker was one of his early subjects. With her he saw the best of the exotic and the tribal.
She embodied the vibrant Jazz Age Paris. Walking her leopard, this stately African American dancer was a flamboyant inspiration for so many artists. It is easy to see how Calder might begin to animate sculpture after knowing this innovative dancer. To that end, a circus would be the perfect thing to animate. His jewelry, whimsy, and animation captured my interest and impressed me.
Take away: Wood turning was my take away this chapter. I was interested in how uneasily it fit into craft. The simplified form was already so much a part of the function of the process, it was difficult to par it down further or put a personal touch to it. As the wood turns on the lathe, the tools create a smooth form. My dad is a wood worker. I asked him if I could practice with him to see what we could turn.
My very first solo show the theme was about art as healing. The images were all narratives and I believed and still believe that stories connect us and through that connection we heal ourselves and our communities. This question seems more personal. From very physical healing, like working with clay helps arthritis to very spiritual healing, like looking at paintings heal emotional difficulties, art heals on so many levels. Art and healing goes further, actually making things is healing.
Wrong in art ed?
Since my background and experience is different, my perceptions might be a little different. Luis Valderama said, “Art is in the mind, everything else is handwork.” That holds two truths which are significant to teaching art, now. First, creativity is very important (see Pink’s book, A Brand New Mind) and with that, encouragement is vital. Second, practice is also very important. In all other disciplines, we know musicians must practice, even doctors and lawyer say they practice. In art, we seem to forget that practice is essential. This can negatively impact our children. Children think they need a perfect and beautiful outcome at first attempt. Children may be too embarrassed to try again. I have a child who is a 3 day learner. The first day he will listen. The second day he will watch. Only the third day, will he try. If we stop on day 2, that boy will never attempt the skill. Through encouragement to practice his craft (lots of sketches), we loose that scary first attempt--days become equal.
Thanks for sharing the site on the craft guild in Dallas. Because I live in Dallas, I found it interesting to read about the YMCA and DMA and what they contributed to crafts. I also find it surprising that they moved to Addison in 2011 and still exist today. I plan on looking them up and finding out more information.
DeleteI am glad that you mentioned you were interested in how uneasily wood turning fit into craft. I thought the same thing. “Wood turning is a craft discipline defined by its major tool, the lathe” (pp. 164).Obviously there has to be some craftsmanship in this technique. I like how the author stuck up for Prestini after the comment from Kaufmann by saying, “Despite their highly reductive forms, Prestini’s turnings were very much craft objects” (pp. 195).
DeleteI love wood turning, especially the new work being turned that goes beyond function and plays with color. It also frightens me a little...fast moving machines (other than a wheel) always make me nervous.
DeleteAs for healing...there are as many forms of healing as there are ways we are hurt, in need or seeking answers.
Chapter 6: part one of my response:
ReplyDeleteSurprised:
Finally I can truly admit to being surprised! When reading about Marianne Strengell, weaver and teacher, I was very surprised to read that she didn't allow her students to see her work or to view her as an artist. I cannot even fathom the idea of teaching students about art (especially the studio discipline I work in) and not sharing any of myself with them. Even now I share my metal casting/welded steel/clay work with all of my students--even the kindergarteners! I know they won't have access to this method of art-making for quite awhile (can you see that now? The 6 yr-olds metal casting?), but I tend to teach in a way that acknowledges how art is broadly accessible. I also believe there is value in seeing your instructor/teacher as their own artistic entity. I still gain a lot from seeing my own instructors work through their ideas and technical problems. Plus, I consider that I will teach many of my students for seven years in a row--that's a lot of time living life together!--and we can build year to year on our art process.
Impressed:
I have always enjoyed Alexander Calder's work. The last few years I've had my second graders draw much like he did--contour "wire" drawings--and then translate their drawings into our own circus. These projects have ended up being more like a farm though, as one of my campuses is land donated from a farmer/cattle rancher. Some of my students have even made moving parts, much like Calder. But, what I didn't know about Calder is that apart from his mobiles/stabiles, race car building, wire sculpture "drawings," he also created sculptures to be worn as jewelry. I also wasn't aware that his grandfather and father were sculptors; that information has inspired new research for me. I loved reading the part about his jewelry piece that drove Alfred Barr nuts--the crumpled-up wire brooch. That and his "Harps and Hearts" necklace give me an insight into how Calder pushed the boundaries of jewelry. I wonder if I was on staff at the MOMA in the 40s how I would react to seeing his pieces: shocked and disdained or thinking "gosh, look at the interesting loops and irresistible scuffs in this gorgeous piece?"
Taking Away:
My absolute favorite piece so far from everything we've seen: Sam Kramer's Roc Pedant. Where do I start? The chicken creature is so wonderful--hilarious, yet so serious with its huge, unblinking eye and almost frowning beak. The thin wire that extends from the eye, through the chicken's clutched hand, and to a pin-like structure appears as a monocle chain to me. The Roc Pendant is so well crafted; the silver is so cleanly shaped and joined, stones are well set, and that eye! I'm hoping to use Sam Kramer's piece as an influence for my final art project in this course. We'll see how that turns out. Even in all my work creating animal forms, it's never occurred to me to use taxidermy eyes. I'll have to look into that.
The metal art in this chapter was just great. My mind is all over the place with Anni Albers' found metal jewelry; when compared to her weavings it is interesting to see the same repetition of shape, same clean composition, same pared down/streamlined form. The experimental nature of Julio de Diego makes me want to take another jewelry/small metals class and this time, not care as much about the "right way" to work with the metals. The silver cuff created by Art Smith looks so contemporary, so sci-fi. I can't help also thinking about how expensive that piece would be to create today with our silver prices. I also appreciate reading that Smith considered the body as a part of his design process; so important because once worn, the wearer truly is a part of the composition.
i agree with your assessment of Marianne Strengell. I couldn't imagine NOT letting my students into my mind or my work. She must have had some pretty strong teaching assistants if she hardly ever interacted with the students.
DeleteI also was crazy about Sam Kramer's Pedant it just made me smile.
DeleteI really enjoyed Calder as well. I loved he found objects that nobody saw and turn them into beautiful jewelry.
DeleteYEAH...what a great sense of learning new.
DeleteChapter 6: part two of my response:
ReplyDeleteRecovery, Healing and Art/What's wrong in Art Ed?
We have these cycles of traumatic, terrible events in our country--most recently Sandy Hook--and every time we talk round and round about increasing security, preventing this, locking down that. But we never discuss the connection of art between the tragedy and healing. More importantly, we also never see art as a preventive measure against these tragic events. As teachers we know to expect the "hour after," "day after" email from the principal/superintendent telling us to divert and deflect from any discussion of the real world events. Now, I'm not recommending an all out discussion of weapons, police reaction time, and body counts with students, but I do think that one way for kids to process things that are overwhelming and scary is through drawing or creating and then discussing. I try to never be shocked by anything I see drawn by a student, but try my hardest to calmly address images one by one.
I'd like to see art education used more in the way of discussion for difficult subjects. I know that takes building an environment of trust and safety, but can you imagine what it would be like to have students discussing serious issues, like racial tension, within an art class and watching as the discussion affects behavior outside the class? If we could create these safe environments for dialogue, I can see students feeling more connected and having a sense of "being heard and understood." Maybe that won't stop every future "Sandy Hook," but it might help pull back in some students that feel estranged from the student body.
My personal art has been a huge healing component in my life; especially in the last eight, almost nine years. I understand that in sharing some of my personal trauma I risk having my art and myself labelled, perhaps in ways I don't care for. But in the end it's more important to share. My art has been one of the major healing factors in overcoming the baggage of sexual assault. In the beginning when I had no words to express the turmoil in my mind and soul, I used art to share what needed to come out. I watched as my own art touched others in the process: the survivors and facilitators in group therapy, my undergraduate professors I chose to share with, and close friends and family.
The majority of the art I've created since 2004 has dealt with the assault--even when I wasn't consciously creating "survivor art." Although I can verbalize much more now, my art still remains very coded and difficult to read into (or, at least, that is my intention). And while I can share more openly with new friends and acquaintances about this aspect of my identity, I still remain silent to many of my close friends who still do not know. I'm literally "problem solving" when I work through my art; figuring out what I want to say and how I want to say it makes me conscious about my progress in healing. For example, my welded steel pieces bear huge wounds and scars. As I heal, how does that affect my treatment of the metal? Do I stop using the visual vocabulary that many attribute to an EBrown piece?
As an elementary art teacher I also struggle with the difficulty of creating art with these subjects and wondering, worrying about how that information will get out and to my students. While I wish for open dialogue and sensitive sharing, I know that the world we operate in is many times far from that. Yet, I can't help but think, we are raising a generation that shapes their knowledge and opinions of difficult issues based on the internet, TV, and social media, yet none of the adults--parents, teachers, church leaders, club directors-- involved in their lives will step up to discuss these subjects with them. How do we go about changing the way we (generations of American adults) handle the sticky, not-so-pretty aspects of humanity?
I appreciate you sharing this with us. Art is healing and it is powerful to hear about it from you. It is challenging and inspiring to hear about how your experiences are reflected in your art. It reminds me of a quote by (I think) Elizabeth Barrett Browning “Light tomorrow with today”. It always makes me realize that what we do each day changes as we change and grow, and that is how it should be.
DeleteThat was really brave of you to share that with us Emily. I really appreciate it as well. Art can unquestionably be the eyes and ears for all of us.
DeleteI had a major dork moment while I was posting this. I was thinking "here I am talking about how important building an environment of trust is for sharing of life's important joys and pains...while I contributing to the building of an environment of trust for sharing." Woah...metacognition.
DeleteThank you both for your feedback. Sometimes I worry that my sharing causes others discomfort ("ahh, what do I do with this information she shared?!!"). I don't intend that, but wow, we never know how interconnected our life experiences might be.
First thank you so much for the courage to share your story.
DeleteI wish you were in one of our undergrad classes, we use a book called 'Rethinking the Classroom" which is committed to talking about all the issues you mentioned. And how there is no time limit on how long you grieve or need to heal. Having lost students in my class I know there was no way I could tell my other students to stop caring after Monday.
More importantly when you are in Junction I want you to met Von, one of our clay folks who works with the bike group Guardians of the Children. They act as protectors and sources of help. Some of our students have volunteered to help with events...the point in Visual Studies we try to be open to all lives, all events, all stories. To make a safe place for ourselves, as we do for our students.
Thank you, Future.
DeleteWhile the subject of what's wrong with art education could have me railing for hours, I'll just address this one issue.
ReplyDeleteWHATEVER HAPPENED TO THE VALUE OF BEING WELL ROUNDED?
The arts contribute to the soul of a person like nothing else. The arts teach introspection, humility, compassion, emotional expression, and critical thinking. Can we say this about other academic disciplines? Many say that it's not the school system's job to teach these values. But I disagree. It's society's job to teach this every way we can.
I'm so frustrated that "we" as a country are concentrating on developing math and science automatons so we can compete with India and Asia, that we've completely lost sight of the importance of the well rounded, articulate, globally exposed child that will become a successful adult. Personally, I send my child to a high school where he has art everyday. He also has digital media everyday, along with his daily dose of math, science, english, world geo, etc. I'm fortunate that I can do this and buck the conventional educational system. I know this is not the norm, but sure wish it could be.
Rant complete!
I have 2 boys-they are my own flesh and blood and I send them to a boy's school. I still hold the immigrant belief in the importance of education (it's often good to just lay biases out there). And yet, my latinate values are so different than so much of this culture.
DeleteFor many parents-- "The Battle Hymn of the Tiger Mom" is sacred. It certainly offers an interesting view.
http://www.theonion.com/articles/report-chinese-thirdgraders-falling-behind-us-high,31464/
The Onion is so silly--I hope it is not offensive.
DeleteGail I thinking ranting is healthy. Your comment on being well rounded is a good point. Education was at one time the goal-not necessarily ensuring a job. Much earlier those attending college were often the financial elite and had $ and connections. Now high schools are so score driven it is hard to concentrate on learning for it's true value. If one had a well rounded education it would help you understand what you wanted to do for a job and then you could apply or get that training.
DeleteThinking of what is wrong with education is tough. Thoughts of art school make me realize how little I really know, except my personal experiences.
I think the more art can be a part of each academic concentration with the ability to have a studio class where students could go expand their learning to or even retreat to or explore the art would help students have a more rounded education. I know some medical schools even require students take art classes.
I think in art schools/classrooms more than any area of a schools it should not be necessary to have one-way to achieve a goal or complete an assignment. Some students need engineering or math to create their art & to keep the creative juices flowing others not. I heard a discussion on mathematics on a morning show today. The mathematician made the remark to the effect that all math does not lead to becoming a rocket scientist and that we have lost a lot of creative students by demanding a certain direction in math.
I feel many creative people have let go of important creative aspects they are capable of as they feel they don’t fit in curriculum or societies goals. It seems that people in all disciples that have held on to the art of life in their chosen area seem to have been most innovative. The text mentions the Eames and see their “model of a symbiosis between handwork and mass production …one of the most potent paradigms for craft practice until the 1960s” . I enjoyed reading about this and their constant research on products. This is of course great for furniture but not so much for children or adults for that matter. Despite all the talk of differentiation we still have a one size fit all for schools almost like a production line. This is seen in the testing frenzy that is so profitable. I think in art education we need to get away from the mass production of students and have a more whole child approach where the arts are as matter of course part of the curriculum. As a classroom teacher in a district without art teachers I was able to incorporate art into the curriculum, which was great, BUT it was still was not enough. I feel you need a designated art time and or place to develop artists and non artists into making creative choice that will help students in all area.
Good rant. I must agree. It does not seem like an issue that need to be addressed or need to be said but it does. Well done.
DeleteI like how you mentioned that art provides all those things. It was well said. Because art has so many advantages, I think it is important to connect with other subjects as much as we can. I am currently looking at all the ways science is connected. Schools without an artistic creative release seems like a very boring school. How are students supposed to keep up with the jobs of tomorrow without teaching them how to be creative. Because technology is changing and products are advancing, we need to produce students with these skills.
DeleteIndeed! Definitely agree. What ever happen to combining arts equally with science and math like it used to be? I know it was a long time ago but this did happen during the renaissance period. Some of the greatest artists of our time were also geniuses at math and science. Albert Einstein said, “in order to have scientific accomplishments one must improve spatial thinking”. The Wikipedia definition of spatial thinking is “thinking that finds meaning in the shape, size, orientation, location, direction or trajectory, of objects, processes or phenomena, or the relative positions in space of multiple objects, processes or phenomena. Spatial thinking uses the properties of space as a vehicle for structuring problems, for finding answers, and for expressing solutions”. Doesn’t art require this same thinking in order to creating and expressing meaning through pictures and other nonlinguistic representations? Craft does especially dealing with woodworking, architecture and ceramics. Some students probably need this type of thinking in order to grasp the concept of math and science which art provides. I think in order to obtain a wide academic understanding, we as educators need to help our students actively stimulate each side of the brain by studying all mathematical, scientific and artistic subjects equally. Therefore, concentrating on math and science alone will not achieve this notion just as Gail pointed out. People usually say that being good at math helped them understand art. Well art actually helped me understand math. There are always two ways to the spectrum. Good rant Gail!
DeleteRants allowed and celebrated
DeleteI can see a glimmer of a change in my district. The superintendent has discussed art based learning with me the last few times we've shared the same space. LOL. I am constantly sending along articles to that effect to him and my fine arts director. There is so much benefit to problem solving and learning in an arts environment.
DeleteI think back to when I took over my schools from the previous art teacher. Her biggest pet peeve was for teachers to say to their classes when dropping them off for art class, "Have fun!!" She said, "Art isn't fun and games. It's serious work." Yes...and no. I think the stealthy part of art is that it IS FUN so we can convince students to engage certain concepts and problems that they wouldn't touch with a 99.5 ft pole in math or science class. Shoot, I almost failed chemistry in high school (mainly bc I drew all over my tests) because it was so dry. But once I got involved in ceramics, the chemistry concepts became so easy. I mean, glaze chemistry is heavy stuff, but it's so different when it's like a game to find what colors the chemicals will make once mixed.
I'm still pushing in my district for everyone to open their minds towards this kind of learning.
I agree with you, Emily. Art helps with implementing and reinforcing academic skills through different media. I always find it funny when my students say, "Are we playing with clay today?" Haha! I tell them, "We don't "play" here but we do experiment." Art is fun and it's always fun to experiment with different things especially when students start making the connection to academics. I always love to see the look on their face when they realize, "Oh my gosh, this is what we're learning in Math class!" :)
DeleteMy appreciation for the GI Bill increased in reading how much it impacted service men after World War II. The impact of education in general, just the idea of higher education for the first time being available for so many really help set the stage for it becoming the common goal it is today.
ReplyDeletePersonally I am aware of how much my sister benefited from her use of the GI Bill. She left the army as a Lt. Colonel and took courses to become a teacher in Texas and later Alaska. Further the State of Texas has the Hazelwood Art that gives Veterans additional Tuition support, or at least it also is available for my sister. Since we are older (old) I don’t know if it is available for current vets as there have been some tweaks to the applications of the funds over the years. She also said that if she took a course while in the military and passed it would be paid for. But I imagine not many soldiers could really do that if on a military front. I think my sister was in the army and or ROTC for about 25 years. She was in intelligence and often in combat area But not on the ground the way men were. Though she did not benefit form the GI Bill for the arts it was of course important to her in her transition to civilian life which would have been much more difficult with out GI Bill help.
When I think of the arts and healing I also think of her. The arts also played a part in her transition. She had picked up quilting in college from some women in a small town she was living. She mentioned to me that her needlework and the community that opened itself to her was an incredible help in dealing with stress. She often found an art “community” when in a new base. This I think brought a sense of community and control to her life especially as a single mother in the military, some 30 years ago that was less aware than it is now.
One of my daughters worked on an internship with United Cerebral Palsy’s Annual Art Auction in Arkansas. At the time art was her major and she worked with children to creating art that was auctioned to support Conductive education of Northwest Arkansas.
Year ago before my dad went to Vietnam he bought my mom an easel and paints and encouraged her to create knowing that she would be veyr sad with out him. We called her the doodler as we would often find wonderful drawings she did by the telephone or in margins of books she was reading. Much later when she was diagnosed with Non-Hodgkin's lymphoma my father ordered a Bob Ross art kit and table top easel for her from his show on TV. She did use and create some paintings and I have these in my house now. Most important was that my father knew she was at these times profoundly sad and in hind site I feel she was depressed and his reaching out in this way did help.
What great stories. The Hazelwood act allows for the GI bill to be given to children if the monies had not been used. Texas Tech is a Veteran Friendly University where there is a center for vets/their families/friends. Each summer there is a camp for dependents to come and be a part of TTU. One small way of saying "thank you for your service".
DeleteI love the vision of a Lt.Colonel quilting! Much better the image I grew up with of Lt. Colonel's drinking and singing wild songs.
I had no idea Tech had a camp! That is very neat. Those are great stories. I enjoyed reading all of them.
DeleteThis chapter was exciting to me since it mentioned or discussed many artists I have always appreciated. I was even happy to see a mention of Joseph Cornell as I enjoy his boxes. I felt most moved by the activity in ceramics and weaving. Then jewelry was amazing too being so very personal. This was a chapter of overwhelming ideas and images. I was almost forced to find more images on line to get a better sense of the artists. It was hard for me to take in it all.
ReplyDeleteI have always liked the immediacy of the art of Calder. I would always take visitors to see Calder’s circus at the Whitney many years ago when I lived in New York. I felt it was one of the many wonders of the city, there is such fun and joy in his sculptures. I was surprised reading about how simple his tools were.
The jewelry was so exciting to see as little sculptures. I liked that they made the sense of modern art available to more people to own and wear. The works pictured by Art Smith and Sam Kramer reminded me of Hans Arp and Sophie Tauber-Arp. There was so much in this chapter that were new discoveries for me. Reading about Art Smith and his thoughts that jewelry “should consider materials, space and the human who wears the object…line, form and color the body is a material to work with” seems to say it all to me. Though other art forms don't include the wearing of the art there is still the audience that becomes part of a work when they interact with it. It is interesting seeing how different many of his pieces are compared to the item in the book. I was excited to see that Anni Albers had collaborated on the Aluminum strainer paperclip necklace, it was so playful. I would like to see a copy of the1949 MOMA book on how to make modern jewelry. I know it has been reissued but wonder if MOMA has it in their shop.
The amount of collaboration was amazing. Even between husband and wives I am impressed by it. Though I occasionally help my husband out at his job, and all goes fine… I have to admit it is not always the best thing for us and I don’t/can’t request his help on creative projects.
Reading what Art Smith listed as what was important to Jewelry I also liked hearing other comments on what individuals feel make a piece of art work well. Petterson describing Magurerite Wildenhain as how she handles the “’big three’ idea-process-material” and getting the sense that Beatrice Wood truly loved clay and “ worked “..in this absorbing technical age ... to work simply from the heart..”. I loved that critics said she was “susceptible to an undisciplined humor’ in criticizing her figures. How can you criticize humor? My favorite philosophy was Julio De Diego who said”…There is no formula in craft, just as there is none in art”. I feel all were explaining themselves or almost felt the need to justify themselves as craft people. One of the things I am taking with me is this concern some of the artists had with being taken serious in their craft. Anni Alber’s saying she is considered an artist not with her weaving but only when her art is on paper, made me sad, but how neat that she embraced printmaking. It was still shocking that she gave away her looms. I was aware of her husbands work but not hers from my earlier art history classes and loved reading about her work. I was surprised that Kenneth Bates was so bitter about the growth of enameling done by “hobbyists”, and that he felt it devalued enameling. I think this surprised me since he wrote and gave workshop so I felt he should be glad of his inspiration to others. The chapter ending with Eve Peri and her fabric collages felt upbeat . I enjoy her work on line and the one on page 211 (Jounrney to the Moon). It feels like a 2 dimensional Calder in its’ playful yet serious almost a musical jazz or blues feel. These artists make me want to work.
Collaboration is hard. It is trust, mind reading, play, thinking outside of comfort zones, letting go of a singular vision, re-thinking and then re-thinking again. I have work with one women wood worker and it was grand...seamless. I have tried working with three different men and I am surprised i survived. It was a constant battle over everything/anything. The artists I know that work well together do amazing work that is beyond what each of them produces alone. I envy the ideal of someone I can work with on creativity.
DeleteMartha, I also liked reading Art Smith and his reference to what elements make a piece of jewelry. As Art Smith quotes “jeweler should consider three elements: materials, space, and the human who wears the object. As he put it, “Like line, form, and color, the body is a material to work with” (pp. 190). Just by looking at the picture of his lava bracelet I can tell it will fit the arm perfect by the shape it has. I have so many cuffs, that I thought would fit well, but they don’t at all. I can tell they were made on a metal rod. Therefore, it has no resemblance to the human form or movement.
DeleteI was first interested and intrigued by how WWII would affect arts and crafts a couple chapters ago. It was more of a fleeting thought till I began reading. I have not had any family or close relatives in the military so I cant say I hold a soft spot for the GI bill. But I do have the upmost respect for our armed services. In the recent years with the war I have seen a couple programs on t.v. about art therapy for injured veterans with music and ceramics. I have not had the chance to investigate more but I think the concept behind the program is phenomenal.
ReplyDeleteI was very surprised with how jewelry evolved. I was aware how craftsman were recruited for the war effort, but not of how involved. With jewelers making periscopes and instruments I wonder how much aesthetically changed after the war given the standards of manufacturing at the time.
Alexander Calder! Calder is one of my favorite artist and icon. His process of creating and his truth to material has always resonated with me. One of the most fascinating things I love is when Calder came to the galleries (having no pre-made work) with a pair of pliers and a spool of wire and would create everything on site. No solder or glue, just the material and simple tools to create is as simple as it gets. I am glad that the chapter discussed his early work, as opposed to his later steel sculptures and mobiles.
Thanks for your honest answer. Art therapy comes in many forms, some of it physical, some emotional and some spiritual. I would say schools of art are filled with moments of art therapy, sometime whole semesters.
DeleteThat is pretty amazing that Calder had a vision and was able to create beautiful artistic jewelry through the vision he saw.
DeleteNew opportunities: part 2
ReplyDeleteI connected with Kenneth Bates in his love for experimentation. I have a similar approach in doing this with as many materials as possible. However, to further read about his experiences with enameling, I have no relation. I have always wanted to learn more about this possess. One day!
In the next part of this chapter, when using wood turning, I can relate. I inherited a wood lathe by my grandpa. He taught me how to use it when I was in high school. It is a nice memory to have with my grandpa working on a piece together. Therefore, I really enjoyed reading about James Prestini. As I read about the different wood being used, I remember the discussions about the types of wood with my grandpa. He had a lot of experiences with different types of wood, and now I am regretting not taking notes from these discussions. However, I do treasure these memories. In that being said, "wood is an unpredictable material, and thin shells like these require skill and discipline to produce" by Prestini, I will I paid closer attention (p. 195). Now my only base of experimental advice is either through my own experiments or of another source.
One of my favorite quotes in the chapter was on page 203 where Beatrice Wood states: “Though I was not his most talented student, I was the hardest working. In the end, it is only hard work that counts.” This stuck with me throughout the week and was very inspired by it. This is something my parents always instilled in my brother and me as we were growing up. It’s important to know, especially for young artists like the ones I teach, that you don’t have to be the absolute best at something but if you try your hardest you can accomplish great things.
ReplyDeleteI loved reading about Beatrice Wood, most especially because she lived to be 105 years old! Wow! I’ll be checking out her book this week to read over Spring Break. It’s so interesting that she inspired characters in movies, novels and articles. Reading about how she turned to art making after she couldn’t buy a piece she was looking for was inspirational. I love to be able to make things instead of buying them but I’m not going to lie about not being lured into just buying something because it’s “faster.” She is the example of hard work diving into something she wasn’t familiar with and making it a living.
I also enjoyed reading about other artists who were originally painters and sculptors who made jewelry. As the book states, most of these artists did not have a lot of training on jewelry making but they created some amazing pieces. The one that surprised me the most was Albers and Reed who created ordinary objects into ornamental pieces. It’s always interesting to see what other people can create with ordinary things. One of my undergrad Art Ed professors creates her paintings from recycled items. Her pieces are amazing. Like my high school art teacher used to say, “One man’s trash is another man’s treasure.”
Crafts/Art and Healing:
I was always a quiet kid growing up. After I moved to Texas from Mexico, I was in bilingual classes to learn English. I moved here when I was 10 to live with my aunt and uncle. I left my friends and family and started a new lifestyle. I became withdrawn, first of all because I didn’t understand the language and second because I didn’t have any friends or anyone to relate to. I’ve always enjoyed drawing and my parents were always very supportive of my hobby. My mom tried to enroll me in drawing classes in Mexico but we couldn’t afford the fee. I always appreciated her efforts for trying to come up with the money. My passion for art became a lot stronger and I practiced it even more after I moved to Texas. It was my way of expressing myself when I couldn’t do it in English. As I advanced in the ESL classes, I was able to speak about my art a little more when people approached me. My drawings became the topics of first conversations and helped me make friends. If it wasn’t for drawing and art I don’t know how I could have overcome my shyness. My drawings helped speak for me when I couldn’t and pushed me to be a little more outgoing.
Rebeca-
DeleteI love how you talked about accomplishing anything if you try. It seems that young artist want to do things the easiest way possible and want immediate results. I tell to slow down and if you take your time you might be surprised. I have noticed that only the ones who have a passion for art will have the patience to attempt something that seems hard. The hard part for me is to motivate the ones who do not have the passion and just want to do the bare minimum.
Beautiful story.
DeleteI always tell my students and my self that being stubborn is half the answer, the other half is curiosity mixed with passion.
Rebeca- I love that your story shows how powerful art can be in all aspects of life.
DeleteI love creating new projects with mediums I have never worked with before and just playing around with it, learning along the way, until I develop a technique of my own. If I come across a problem that I cannot solve after trying a hundred times I will finally google it. I will develop an ulcer before I break down and google something I am trying to create. My husband thinks I’m crazy sometimes for doing that. Now that I’m actually typing these words out, I can see my stubbornness and for the first time his point of view.