Anohter book

I do not know if I have recommended this book or not but it well worth repeating.
If like textiles or even if you are a little interested check out "Fiber Art Today" by Carol K. Russell, 2011. It is a visual delight.

Chapter 9

What an exciting chapter. It is as if all the areas grew up at the same time. Consider the juxtaposition of Smithson's spiral getty, the killings at Kent State, and the Foxfire books. New directions and new realities.
Some observations...if you are ever in Wisconsin visit the Kohler Museum. It is an amazing space that still houses works from their artist in residence program. The bathrooms alone are worth the trip and admission. Check it out online. Not as good as in person, but too cool for words.

I admire Ken Price and how he was able to know and accept the time to change/to move in another direction. And how clay suddenly seemed to add words, painting, decals and almost anything else. A continuing exploration of what could be waiting outside of the box or studio. If you would like to see some art that is close in nature and closer in distance look up Melissa Zink, from Santa Fe. She recently passed but there are still galleries handling her work..

Wow for metals...it is like they matured overnight. I know this is a simple statement but it is how powerful I reacted to the new works And textiles. Amazing works. If you are interested in shibori (or the use of small knotted bundles during dying) look for the book " Kimono as Art: The Landscapes of Itchiku Kubota". One of my all time favorite art books. When I am in need of inspiration this is the book I re-visit. My dream book.

Glass and Chihuly and Philchuck....what more can you ask for, I know that much of the description could and does apply to Junction. I am even prouder of what the glass folks have done over the years than before.

Of all the forms wood seems to finally begin to find it's way. Just beautiful work.

Now for the continued question from last week.
Curate a show with YOU in the show. Talk about the theme, the location, the other artists and what you would want the public come away with after viewing the show. Dream big. Money is no object.
Really.

An Elementary Art Teacher's Spring Break: Mesalands Community College Iron Pour 2013

Wax working space

Breaking the iron used in the metal casting process.

D'Jean leading the pour teams.

Cupola team maintaining the furnace.

Pour team catching the iron.

Comparison to casting in aluminum.

An example of surface texture in my welded work.

The cupola, pre-firing.

More surface treatment/texture in my welded work.

Tucumcari, New Mexico

A view of the Mesalands campus

Safety gear--highly fashionable.

My spring break this year overlapped with my time in Tucumcari, NM at the Mesalands Community College Iron Pour.  I've been lucky in years past to have permission from my principals to attend the pour the week prior to spring break.  I didn't know how great it was to have a week of rest after the pour until this year, when I found myself back in the swing of things at work without having rested up, post pour.  

My sculpture professor/friend invited me to the pour three years ago and I have completely fallen in love with the iron casting process.  I've cast before many times in bronze and aluminum, but love the physicality of casting in iron.  Iron casting requires a community effort--it is impossible to cast alone.  Perhaps that's what I love most about pouring in iron.  I relish the time with other metal fabricators, artists and art educators; it's a week filled with conversation, both serious and ridiculous.  The furnace takes on a personality; I think I finally wrapped my brain around the science behind how it functions--an amazing process.

The physical space in New Mexico is inspiring to me; although it is dry and seemingly devoid of life (both in the landscape and the town) I absolutely find beauty in this place.  I'd love a chance for a residency in this particular place.  Something about the town, the landscape, and the facility feed my soul.  Perhaps it's the quiet compared to my normal existence?

The art program at MCC is run by an amazing woman, Donna Jean (D'Jean) Jawrunner.  The energy she has poured into the program in her 13 (or is it 14) years running the program is countless.  She will leave big shoes to fill, not only as a teacher, but as the coordinator of this magical iron pour event.

A suggestion

If you do not receive "American Craft" or can not find it in a book store try americancraftmag.org. The april/may issue is filled with incredible works that bring our discussions into today's art world.

chapter 8

Hold on for a wild ride. This is the beginning of what I consider the revolution that is craft. If you can find it look up the book "Objects, USA" I still have my old, dog eaten copy that continue to review and use as a bases for my inspiration and sometimes for  a good laugh at how silly all art forms can be for a short time.  The section on textiles is especially exciting for me because so little is written about fiber arts today. At least you will finally know what there use to questions on the state tests for art K-12 certification over macrame.

Consider how curators came into power during this time. How the size of the work grew in size to fit museums not homes.

For an additional question share what kind of show would you curate? 

chapter 7, a post script

Although this chapter makes mention of Zen and beat poet Allen Ginsburg and writer Jack Kerouac, I want you to continue to think about how life intersects with art. The challenges posed by these writers along with Gary Snyder  and Alan Watts is very much alined with the new approaches to art/craft.  To look at society with fresh eyes, to seek answers within one's self and to find peace from nature. It is not an accident that our culture as a whole began to questions the status quo. Small steps in civil rights.  Added by advancements made within the military concerning equal treatment of men and women of color. As it would later be sung, 'the times they were a' changin"". I have always held that art is a record of time...maybe not the record some want but if you look at all art being created you might see a wider view of this culture.

Remember, art/crafts are in constant flux. Their importance depends upon the place where we are at the time, who we study with, who we wish we were and what we are working on at the time. No form is ever "over" it may hide but it does not go away.

Consider the thought that it  almost viewed be cheating to teach while making art...I am always surprised at these sweeping  statements that have such an impact on our education.Anyone who teaches knows there is very little time to make art and sometimes a "day job" totally unrelated to art is a better fit because you not conflicted. It is up you to figure how the balance in your life...do not allow anyone else to tell you hoe you work it out is wrong or not good enough.

On a final note, I was lucky enough to be at TTU, taking clay classes when both Perter Voulkos and Paul Soldner came for workshops. I was amazing. Voulkos was a force of nature. Think of a man, built like a New Jersey butcher, loud, flirting with all the women, and going 100 miles an hour. Wild. Soldner shared us his raku secrets while waring only a speedo...no kidding. He also demoed how to make a kick wheel for under $100. Clay was the only place you wanted to be or at least hang out.

As I said in one of my responses...find your own quote. What is it that you say that makes a difference.

Chapter 7

Welcome to Spring Break! This chapter is not due till March 17th, so take some time to look up all the wonderful references everyone has contributed. Take time to rest and think about your art work.
Apart from our standard questions consider what part crafts has played in your life....think big and in general terms then close in on yourself and how you personal feel about/ wonder about/ think about crafts. What is the one lesson you have learned?

Photos from Gail's trip to MOMA; re Chapter 6

Two weeks ago I was in New York and visited the MOMA! I hadn't yet read chapter 6, but I knew I wanted to remember these exhibits. I was captivated by Eva Ziesel's plates the minute I saw them. I grew up with a similar set. Anyway, I just wanted to share a few pictures of what I saw with you. The exhibition was packed. It seems that this era was so influential in American design that we still can't get enough of it! Enjoy.....

This is from the Plywood exhibit! The splints that the Eames developed for the Army are hanging on the wall!

More plywood from the 40s!

A better look at the splints. That table is amazing!

Eva Zeisel's plates!

The plaque...I tried to sharpen this so you could read it. Cell phone camera......