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?
To be honest, when I read the title of chapter 7, “The Second Revival” these words kind of gave me fear in terms of seeing the struggle of craft survival again in relation to what we have already read in the previous chapters pertaining to the depression and WWII. I am noticing a repetition that when more technology is invented the more mass produced goods are leading the way, while craft is shrinking. However, the chapter was not what I predicted at all and this was the biggest surprise to me. I noticed that instead of letting the light dim on craft, the passionate and the bold craftsman’s took a stand to show their strong willful voice and the organic side of craft in all of their works. Along from the main one surprise I had, I was entirely impressed with every piece of craft mentioned in this chapter. Each piece caught my eye as if I was attracted to it like a moth to light.
ReplyDeleteThere was one quote that I was impressed to see at the beginning of this chapter, that brought warmth to my heart; “If craft could not compete with industry in matters of economy, it might yet compete in matters of symbolism and meaning” (pp. 212) This statement is my own personally reason as to why craft has survived so many years against technology and mass produced goods, and as to why it will keep surviving. No matter how many goods you can produce at once with more stability and less weight, or an easier production process with machine based hands, it will never in my eyes add up to the warmth, organic or liking feel that craft provides.
I was impressed and thoroughly surprised of the two explosions of craft in this decade; being Japanese and sculptural. I too was really inspired by the craft community established between, Leach, Hamada, Autio, Yanagi and of course last but definitely not least Voulkos. I liked that they all came from different places, (except for Autio and Voulkos), but all had a similar passion. Truthfully, I was really taken back by Leach when he made the comment, “American ceramics would not amount to much because it had no “taproot,” no grounding in local history” (pp.216). I really don’t agree with this statement because I see America having a lot of local history. Especially when referencing Native American ceramics. Also, he made this statement in the 1950’s therefore; America had been a civilized country to almost two centuries. I somewhat lost respect of his opinion after I just kept reading about Americans having no roots. That statement set me back with surprise.
Aside from Leach’s personal opinions, I was really impressed with Hamada and how he began to sense that there was a kind of spiritual connection to pottery making. I thought that statement really showed his dedication and passion. I believe this is how you are supposed to feel when you are doing something you love. I get this same feeling when I paint with my emotions.
I like what you said ... "I noticed that instead of letting the light dim on craft, the passionate and the bold craftsman’s took a stand to show their strong willful voice and the organic side of craft in all of their works." I too was amazed that the artists inspiration, influences (international and economic) , plus the trend toward "convenience" products did not slow the innovation and excitement of the crafts people highlighted in this decade.
DeleteI agree with you--I love our rich tradition in the United States. People so often forget our Native influences because the much of native American life was not acknowledged by the British or British settlers. (French different story-French and Indian War) We, in Texas are still re thinking our heritage as archeologists have discovered a settlement which calls into question the Bering Strait theory.
Deletehttp://en.wikipedia.org/wiki/Buttermilk_Creek_Complex
So yea for us and our rich native history.
Secondly,
Leech was British born in a British colony, Hong Kong, spent first years in Japan. He was of a colonial time.
great point Lynn
Deletei think many clay classes today would not mention Native American ceramics with any sense of respect, let alone work by African American or Mexican American artists. It is a shock when then mention women.
I was happy to know that McVey’s history was saved by Eidelberg. I really thought her ceramic form was intriguing. I found myself sitting there starring at it for almost ten minutes. It kept changing form to me for some reason.
ReplyDeleteReading about Voulkos was of course my favorite. I can certainly see how his personality and work encouraged positive change. I feel like Voulkos was a leader in this field and gave out positive vibes and kept people wanting more when some thought maybe craft was fading after the war. “There are too many rules and too little feeling. How is it possible to create without excitement” (pp.224)? I love this quote in his statement. I completely agree with him. I think this is why I love to learn new mediums on my own without reading the rule or technique book. I think Voulkos work is a true example of how creating work with passion and love make it beautiful. I ended up googling him because I just needed to know more about him. After reading the amusing description of his looks, I was more eager to google him. I am not joking when I say this, but he looks shockingly like my grandfather (mom’s side). My grandfather doesn’t look like anyone I have ever known before, except now, Voulkos. I am now wondering if I have Greek in my genes. If you didn’t google him please do and look at all of his creative works, they are wonderful.
I also admire that this book references someone like Fred Marer. I think it’s not only important to remember the craftsmen themselves, but the people that support the craft community.
There are so many artists in this chapter that I loved. I thought Henry Takemoto, First Kumu stoneware was really beautiful and exotic in a way.
Margaret Israel was another favorite of mine and how her Town ceramic “simultaneously suggest both community and coercion” (pp. 234). I saw a sense of realness and deepness in her work.
Asawa and Patta were geniuses with their craftsmanship and John Paul Millers granulated gold jewelry was superb. I could see his necklace on the runway today and admire by all esthetics.
The music stand by Esherick was truly alive. When I looked at it, all I could think about was how I could see it dancing just as the home furnishings did in Beauty and the Beast. I personally think the woodwork in this chapter shows what great craftsmen can do that machines cannot.
The main thing I’m taking away with me in this chapter are the innovations that developed either by creating new techniques or expanding old ones by providing new treatments and experimenting. I feel the title revival is just as it should be and more.
I really never fully knew how surrounded I am with crafts until I took this class. When I was in middle school I used to take out the hem of all my pants because I couldn’t find anything long enough since I was 5’9 in 6th grade. That was the first time my grandma taught me how to use a seam ripper. I remember watching my dad make our furniture in his shop. He made most of the furniture in our house and until college; I never really imaged how valuable it is. My husband is also a Crossfit trainer and he worked at our crossfit gym when he was home the last three years. He has handmade more equipment for that gym than for anyone or anything else in his life. I honestly have never thought about that until now. He made all of the racks for the barbells, a theracane (looks like a cane with a big wide hook and has small balls on the ends to get muscle knots out of your back) that works better than any massager, along with much more he built. My entire house looks like one big craft project with all different types of mediums. Now that I am thinking about it, I never knew how much craft consumes my life. Since I am an artist and so is my father and my husband, I guess you could say we are attracted to craft and personally I love everything about it! I think the main thing that I have learned is that I appreciate craft on a different level now and I will forever take time to look at piece of craft to cherish the work involved.
ReplyDeleteBrea I never really understood the differene between arts and crafts until our readings as well. I often thought that what defines an artists is his medium, in other words that an artist would stick to one medium their whole career. I often chastise myself because I am interested in many different forms of art,never living up to the standards I set for myself. I to have arts supplies all over my house.
DeleteI feel the same way as you, Brea. Never really though of things around me, like furniture, as crafts. My mom also taught me to sew at a young age and I've always thought of it as a necessity. When I started with this class and reading the book, I realized that the things my mom taught me and the work her and my grandmother make is also craft and ultimately art. What an eye opening experience this class has been so far. I'm truly enjoying it!
DeleteWhat surprised me is the idea of formalism being applied to craft making. "The language of formalism, invented for painting, was applied to craft objects. Faculty also began to denigrate production crafts" (p. 214). To familiarize myself with formalism, I had to look it up to really understand what this was actually saying. I new it was important to the development of crafts. When researching formalism, I had to research formalism painting to fully understand what was being said. From http://www.theartstory.org/section_theory_formalism.htm , I found out that formalism was referring to the components of what was in the painting and then determines the artistic value by its form or visual aspects. When the faculty began to attack the reputation of the production of crafts based on a formalism approach, I could relate to my old way of thinking. When looking at a piece of craft artwork just for its visual aspects, it can be plain and under appreciative. I enjoy reading about why and how these works were created, like abstract art. It seems that the majority of non- art educated people really have no understanding of abstract art and do not appreciate it. I think it is interesting the comparison of views between crafts and abstract art.
ReplyDeleteI can also personally relate to Marji Grotell in her views on learning a craft. "Doing things to sell is the easy way because you can repeat and repeat an approach. I am only interested in learning when I do a new piece" (p. 214). I think that when viewers see something repeated and repeated for the purpose of selling, the value of that craft is diminished. I can relate to her interest in learning new processes. When I attempt something more than once, I feel boredom and uninterested. Therefore, I it will be challenge for me to complete.
Mariska Karasz is someone who surprised me in her connection to embroidery to poetry. "Embroidery is to sewing what poetry is to prose; here the stitches can be made to sing out as words sing in a poem" (p. 236). I will carry that quote with me because I thought it was lovely and I find it something I can relate too. I have thought about making an wall of quotes by artist in my classroom to inspire my students. 'The Makers' has quite a few quotes that inspire me and there for I want to see if it does the same for my students. Karasz brings a light to the idea of embroidery and makes
me interested in experiencing it. If I can make my students want to try new materials by exposing them to quotes, that would be wonderful. Does anyone else have another quotes or sources for this task?
Here are a few good sites for art quotes. I have a few books as well and will share those titles (just need to find them) but here are some web sites that should give you some good quotes. I collect quote books and will put together a list. Students love looking through quote books and poetry books they are great inspiration.
Deletehttp://www.goodreads.com/quotes/tag/art
http://www.quotegarden.com/art.html
http://www.brainyquote.com/quotes/topics/topic_art.html
http://www.incredibleart.org/lessons/middle/quotes.htm
A book called Quotes to inspire great Reading Teacher A reflective Tool for advancing Students's Literacy by Cathy Collins Block & Susan E. Israel ----Though not just "art" many about perseverance - one from this book that I liked was "when you make an error, don't dwell on it don't excuse it; value the correction." One of the authors is or was a professor at a Texas college I think TCU.
Again different perspective but may be helpful--
DeleteLots of artist love to quote from Robert Henri "The Art Spirit"
It just a collection of things he said to his art students--its kind of the art version of Rilke Letters to a Young Poet.
The info on Formalism is great. I must have glossed right by that. Trying to judge and evaluate paintings and craft items by the same criteria is just ridiculous.
Deletethink about quoting yourself...really...what is it that you say that is used by someone else ...be bold
DeleteI think Future has a good point. You should also collect quotes you hear from your students or during their critique and put them up as well as quotes from yourself. Two quotes that I have realized I said about my artwork are…
DeleteThe truth never hides in my artwork~
My heart speaks through my hands~
These were just random statements I had said about a war painting I did called “Light at the end of the tunnel” I had some family and friends over for dinner one night and my husband overheard my answers to the questions being asked and he repeated to me what I had said and I never realized I even felt that way even though I was saying it. I was grateful her overheard and pointed it out to me because it is honestly true.
Very true Future,for me voicing my own thoughts or experience is the only way to complete something authentic and improve. I guess I would see quoting myself as making art, and not talking about doing it. This is of course part of the reason I wanted to take this course this program.
DeleteHow you personal feel about crafts. In the 'Crafts Embraces Academia' section of the reading, I found it interesting it talked about the views of craft making. "Craft facility and students began to think of their field as a type of art rather than as decoration or design" (p. 214). I have always viewed crafts as design or purely decoration. It was not until this class, that I have started to think otherwise. Craft is something that I associated with either elementary lessons, things to do at Girl Scouts, and for women to do when they have enough time. Boy, was me perspective so skewed! I definitely have changed my thoughts to craft as a type if art. It's funny because the media in 'The Makers' that I associated with more of an art form is considered an craft. For example, wood turning, glass, clay, and metal are materials that I thought more on an art form. Therefore, I have learned a lot through the reading. I have learned what crafts is really about and the connections to healing, cultural, and how the events of American history influence the production of these crafts.
ReplyDeleteThank you for your honesty
DeleteThis class really opened my eyes as well Melanie. My emotional connection to craft submerged since taking this class.
DeleteI was surprised to read about an artist that uses metal in their fabric artwork. From reading about basket weaving, I decided to use the coil method with wire I have. I have been twisting the wire into a coil method for my project for this class. I admire anyone that uses metal wire for it is difficult to use. The toughness of the wire wares your hands out, therefore I have to take breaks for my hands. I wonder how Ruth Asawa does her work by " crocheting aluminum, brass, iron, or copper wire" (p.237). I thought it was interesting how she "wish[es] to be an art teacher because of racial animosity that persisted after the war" (p.237). Because Americans were fighting the Japanese during the WWII and it ending in 1945, I can understand people's animosity towards the Japanese. I can compare this to how Americans felt about Arabs after the attack on September 11th. Even though, the Taliban are not all Arabs, Americans seems to treat them different or have a second thought. I do not have this thought, for a good majority of my students are Western Indians, but I remember how I felt right after the attacks. Why would Ruth want to use this experience to be an art teacher? 'The Makers' does not go into more detail in why this lead her to be an art teacher. Therefore, I looked into more sources into the details of her experiences. I found her life actually pretty interesting and full of unfortunate events. http://www.ruthasawa.com/life.html
ReplyDeleteIt seems like she had to work very hard most of her life. I think her outlet of studying and producing artwork would be very therapeutic for her. I also found more images of her artwork that are beautiful and impressive, especially because they are made out of metal.
I was just looking at the link you shared on Ruth Asawa. It was so interesting to see her later work including such large comissions. How neat that she continued to be interested in children through workshops and public schools art programs. I liked what they described as her personal philosophy on art for children they :"... develop as creative thinkers and problem solvers by practicing art and gardening."
DeleteWhat I am carrying away with me is the beautiful attitude of Peter Voulkos towards teaching art. I strongly believe that having "energy, curiosity, enthusiasm, and competitiveness" is a key to inspire others (p.255). As an art teacher, I think it is our responsibility to stir up something in our students. I also love " his intense energy and charismatic personality" (p.224). Students can pick up on the energy you bring to a lesson, so therefore it is important that you, as a teacher, are interested in what you are teaching. Although, it seems hard at times with dealing with a student who is not interested in art in the first place. I think if those students as challenges for me to connect what they are interested in art. It is also hard to keep all of your students happy all the time with the lessons we create. I think I am successful in my lessons when a majority is inspired. Because everyone has different interest and even in mediums, it is hard to connect to everyone's passion all the time. I admire Peter Voulkos doing this with his pottery.
ReplyDeleteIn school they always tell prospective teachers to be enthusiastic about their assignments, for it will get the students interested and stir their curiosity. It is also important to encourage students, and direct them to make each assignment meaningful and interesting to them. Often times this might mean altering your assignment to meet a particular need for a student. I too admire Peter's energy, for sometimes students can be a big energy drain.
DeleteTeaching for me has always been part educator and part performer. Even the days where i'm not feeling "up" I put on my performance hat and present with excitement, humor and enthusiasm. I really want my students to leave each day thinking...Wow...that blew me away. It's exhausting, but worth it.
DeleteI can't imagine how hard it is for teachers who are in difficult schools to maintain their enthusiasm in the midst of the chaos and discipline issues. Since I teach adults that usually is never an issue. For college level educators this shouldn't be an issue, but in high schools...EEEK!
All teachers face the same problem...even in Junction. At some point I ask each person "how do you come to this class...what kind of student are you?" How do you plan to learn? trying to put at least part of the responsibility of learning onto the student...to share the weight
DeleteI couldn’t agree with you more Melanie. I had an Art professor like Voulkos once and I will remember him the rest of my life. I remember going into his class feeling intimidated and scared that I wouldn’t do well at the beginning. After the first class I was at ease because of his charisma, motivation, passion, and belief in that we would all do wonderful. I left the first class with inspiration and ideas even though I had never worked with this specific medium before. I also had the feeling of wanting to make him proud and also myself. I learned so much in this class and it was such a joyful experience, I seriously had tears the last day of class. This professor also brought our whole class together as a family. When reading about Voulkos this is what I was imagining for his students and this is the artist/teacher I will always strive to be.
DeleteThe number of artists’ discussed in this chapter overwhelms me. I was reading with my computer open to pull up examples of jewelry or pottery to see more examples of the work so I could really get a grasp on what the forms looked like.
ReplyDeleteI was a bit surprised by the change in the role of universities in the craft world. Having the “academic” stamp of approval seemed to bring more respect to craft making it a “type of art rather than as decoration or design.” But the competition between established “art” departments and the newer “craft” addition brought division between academic crafts and more “functional” crafts which still seems to be there. It was a little confusing to me as I would have thought (naively) that academics would be more embracing or egalitarian as they are now. Though this sadly seems to have led to an elitist ideology in some universities it also helped create very exciting innovation in the craft world shown in this chapter. Ceramic artist’s like Leach, Yanagi, Voulkos, Margaret Israel, Jerry Rothman, etc. made me so wish to be able to attend a lecture or a studio demonstration. I loved the term “mingei”- “art of the people” coined by Soetsu Yanagi. I was intrigued with his interest in pottery of the past developing into a museum of crafts in Tokyo. I think this connection and appreciation of the history and craftsmanship of an art form is important. The influence of the writings by Yanagi and the comments by Rudy Audio about Hamada “…Pottery making was not just a matter of throwing pots and selling … Hamada…handled things and examined them…communicated with the work…I began to sense that there was a kind of spiritual connection to it.”
I enjoyed looking at Voulkos constructed pieces and reading about his comments on the condition of ceramics as an art form. I like that he felt that “pottery had to be more than an exercise in facility-the human element, expression is badly neglected”…”There are too many rules and too little feeling. How is it possible to create without excitement?” Just the image of Vouklos and others working in an experimental atmosphere, kind of a no fear situation – and reading how they had to sneak into the building to work on clay sounds exciting. I was impressed that so many different artist were working side by side and had so many very different processes and creative products.
I am taking away with me the extreme diversity of the crafts. The intricate work of John Paul Miller and the airy surreal whimsy of Svetozar Radakovich in jewelry amazed me. Ruth Radakovich’s point of view in designing the jewelry was neat. Mentioning that “jewelry is seen by the wearer from above” and that point of view should be considered is really something I had not thought of. There so were many times in this chapter that I appreciated reading the artists statements about their work. One of the artists whose work I looked up that was not pictured was Ted Randall. I so enjoyed seeing his Monoliths as well as his other work. I also take with me the wide range of style that some of these artist had. A quote by Randall that came up when I was looking at sites was interesting . It says some of what I feel about craft and how the work that I appreciate most seems to show me a connection with the past and to the present..
"I have stopped trying for the pot that has never been seen before and continue to try for the pot that recalls all pottery. I keep looking for that degree of innovation that refurbishes, renews, connects to old meanings, allows the fun of invention, but looks back at the past with respect, understanding and affection, opening the way for a continuous recreation of form." Ted Randall
"But the competition between established “art” departments and the newer “craft” addition brought division between academic crafts and more “functional” crafts which still seems to be there. It was a little confusing to me as I would have thought (naively) that academics would be more embracing or egalitarian as they are now. Though this sadly seems to have led to an elitist ideology in some universities it also helped create very exciting innovation in the craft world shown in this chapter."
DeleteThis is what I was not very eloquently trying to say in my post! Thank you for stating this so clearly!!! This is indeed just what is still happening! I was dismayed to see the school where i teach drop the word Craft from their name so that they'd be taken more seriously in their BFA program. So we are now the Southwest School of Art instead of the Southwest School of Art and Craft. Kinda sad!
In many ways higher education is like living in Aspen or Taos...as soon as I get there, have my little piece of the land I want to shut the doors so no one else will spoil the scenery. I believe those that hold on too tight to their "rules" or "regulations" are working from a place of fear. From a sense of not being able to be successful or a sense of not deserving to be where they are.
DeleteWords like fine arts/crafts can divide or they can bring together. It becomes a personal decision.
“Jewelry is seen by the wearer from above” This quote really caught my attention too Martha. I had never thought of this perspective either. In this case, I think this shows me that Ruth was a sensation because she took not only her perspective of what she measured great craft into consideration, but also the perspective of the consumer. I now know this viewpoint is import, if you as an artist, want social acceptance of your work. This statement was personally really powerful to read as an artist. I will look at each piece I do now differently.
DeleteCrafts I feel have played an important part in my life. As an adult I am more conscious of my appreciation of the items i choose to have in my house. I am now aware of the skill, patience, decisions and time needed to create the items I use to bake, eat from, or the glass vase that is on the table. I see crafts as connecting us with our past present and future. I feel the knowledge and applied skill that the items are made with is the connection that make crafts a category that can bring beauty and sometimes a successful good function to objects.
ReplyDeleteThis appreciation began as a child, as for the most part I think I care about crafted objects because growing up we used handmade items in the house that my parents cared about. Pottery bought or made by friends to drink our juice or coffee with and just growing up with an appreciation of the connection between items in their house and that they had a certain design or look. Usually that meant they were hand made, and possibility bought by my mother or another relative so they were kept for sentimental and aesthetic reasons. I still use her “favorite” tea pot, it really is not very attractive but highly sentimental having a mismatched lid, as the originally arrived broken the day she received the pot as a gift from a family friend.
My parents just appreciated what people could create. It helped that my father traveled a lot often with us, and we were sometimes without our household goods. Once because our personal effects did not arrive. My father was big on plugging into the society of wherever we lived and it was part of his job being employed by the State Department. Unlike many of his peers though, he choose not to live in the “compounds of Americans” so we lived in neighborhoods and bought our dishes, bowls, chairs etc. in the local market. This did make me more aware of a connection between what we used and where it came from. This also made me realize that the items we used in the United States were just like everywhere else sometimes handmade and sometimes production. The handmade would usually be local and more valued by my mother, and her collection, I guess I should say hoarding of fabrics/textiles from where she traveled were examples of local crafts she experienced and appreciated. One of the lessons I have learned or am learning still is how subjective the definition of craft/art can be. So much more goes into a well crafted object than just the rigor and skill in making a particular item, though these are I feel important. I do feel empathy with Voulkos comment when he said “pottery had to be more than an exercise in facility …how is it possible to create without excitement?” This was also reflected in the woodworkers and I loved it when Wharton Esherick responded to those questioning the use of machines saying “…There’s a little of the hand, but the main thing is the heart and the head…”
Martha- that is really neat that your mother collected fabric from different cultures and places. What did she make from these fabrics and do you have any pictures? I love looking at different fabrics when they are associated with different cultures. I like looking at the different designs that they use like symbols that tell the viewer about their culture.
DeleteMartha, I love your background and the creative retrospect behind everything. Like your mother, I collect fabric as well. I guess my reasoning is because I love to reupholster and my background in fashion design. Like Melanie, I to love looking at different fabric from different cultures. When I travelled around Europe I collected a lot of lace. Especially in Italy. I felt like lace always showed a good representation of the culture it came from. I also love going to Santa Fe to look at different fabric. They have a locally owned fabric store there with the best pattern/tribal/ikat fabric. The texture is so rich and the screen printing is one of a kind and amazing. I also love the leather they have in Santa Fe.
Delete“One of the lessons I have learned or am learning still is how subjective the definition of craft/art can be.” I think this is one of the main aspects this class is teaching me as well. Just like Future mention above on your previous comment before this one, “Words like fine arts/crafts can divide or they can bring together. It becomes a personal decision”. I am now seeing it does all depend on who you are as an artist and your personal decision. I feel like I know what I would prefer but I also think I will always be learning and growing as an artist in figuring that out.
I will post some pictures of my mother's material, might make a fun photo. I will post. Next week I am actually going to go through some more of it to pass on to my sister (the quilter) who like my mother will save it for something.....My mother really didin'd do mush with it. She wore some and use pieces on furniture, table cloths or framed. It is funny some of my favorite pieces were some actually made in Holland for the west African market, they are batik cotton (production) for export. Some look so authentic others fun and Kitchy.(?)
DeleteWhat surprised me the most was the direction arts and crafts was able to take, once again. Just when I thought it to be doomed, known only as another point in time, it took a surprising turn. The new thinking of craftsmen was that “if they could no longer compete with industry in matters of economy, it might yet compete in matters of symbolism and meaning.” (p.212) Not only did it survive, but it evolved along with societal changes after WWII. Again thanks to the GI bill servicemen wanted more practical vocations, so the universities and colleges were jumping on the band wagon to add ceramics, and other trades into the fine arts departments. Crafts were now being interpreted using the formal language invented for painting. A master’s degree was now being required to teach in visual arts for arts, which meant that they were being evaluated by the same measures as other academic communities. Arts were being influenced by a Japanese aesthetic, Zen and the writings of D.T. Suzuki and Alan Watts. Expressionism in painting and organic forms in designed carried over into the craft world, along with the search for personal voice, and free-form design. That society prospered after the war, and was being modernized with machines to make life easier; housing was more readily available, and there was a move to make everything clean and easy to use. Was this the beginning of Americans turning into a consumer driven society? The book talks about the GI bill and how men were given academic and vocational opportunities as a result, at the same time I hope that women were also given some greater freedoms, and opportunities. They have more time now with machines, clean surfaces, and paper plates. In my life time I have always known ceramics, jewelry, wood working, and fiber design to be an art form, and part of a fine arts department. We have talked about what is considered a craft, and I wonder how many other types of crafts have not been included in a fine arts program? When I think of crafts I most definitely think of symbolism and meaning. I think of family, culture, a certain time period, what the item was used for, and the meaning it has for me personally. For home crafts have always been a part of my family, and viewed from this stand point, a natural response for ones heritage.
ReplyDeleteI like the phrase you said a "natural response for ones heritage" that is how I see those personal craft items I live with or sometimes buy.
DeleteI was also excited in this chapter (also the last chapter) to see the organic and other more abstract forms become less directly significantly related to one ethnic or history through the influences of many.
What impressed me the most were many things, as always, for this book is packed with information. One such thing that impressed me was the evolution and direction in which various craftsmen took, for there were now many different ideologies of what a craftsman is. There were craftsman that were involved in industrial design, craftsman that believed form followed function, and that using machining tools was quite acceptable. There were craftsman that brought spirituality to their work. There were craftsman designing for design sake, and not for a functional purpose. Clay in general saw the greatest changes, for there was experimentation taking place in glazes, clay, forms, and kiln design. Clay went from being used for purely functional purposes to being used in expressive and abstract designs for no functional purpose other than the artist voice to his audience. I wonder if to the more common person it seemed as if the world had gone mad. The other thing that impressed me was looking at the art work in this chapter and how they timeless they are, they were not dated in any way, and I would put them in my house today. The other thing that impressed me was the furniture designers, for I worked for Herman Miller for 10 years as a designer for them, and learned about how industrial designers such as Charles and Ray Eames, and Nougchi had such an impact on society, there philosophies, and timeless designs. Industrialist calls their philosophies corporate cultures, and Herman Miller has philosophies very similar to some of their furniture designers, and thus I view industrial craftsman in a positive way. One furniture designer I found most interesting was George Nakashima. He dedicated his life to wood, handwork, and simple technologies. He believed that there was something missing in modern design. He believed that Frank Lloyd Wright’s home were built badly, and that construction that would stand the test of time was important. He had a very different mentality on furniture for he believed “his craft was spiritual in a sense that both the labor and object could be seen as an extended mediation in the individuals place in the world.” (p248) He believed trees had souls, and that “once Nakashima stepped out of the way, the user could commune directly with a physical link to a god consciousness.” (p.248) Tage Frid another interesting furniture designer from the reading believed in good craftsmanship, accepted machines, used plywood and veneers, believed that form should follow function. I guess I have to somewhat believe as Nakashima does in that trees have souls, for every time I see a tree being cut down, it cuts me deeply, some would call me a tree hugger. I often wonder why society can allow our countryside to be destroyed in the name of progress. And not unlike Frid and Nakashima I believe in good craftsmanship, society to often views things from a disposable standpoint, here today gone tomorrow is often there accepted motto. When I purchase or make things it is often with the intensions that I will have it for a very long time, or that it will serve a functional purpose. So I look for items that are made of unpainted woods, fabrics that are timeless in design, and items that represent who I am, and I believe it is important to respect and take care of the things I have. Maybe that is why it is so hard for me to get rid of things, I guess I have beliefs from a bygone error.
ReplyDeleteDebbie, I couldn't have said this better! I too am a tree-hugger in the non-tradtional sense. I Think Nakashima was a genius and was completely connected to his material in the most spiritual way. It must have made the pieces even more special. He embraced the natural order and influences and injected just the right amount of engineering to the pieces to make them ultra modern. I remember growing up with pieces like those at my friends homes.
DeleteYour comment about the disposability of todays items really struck a chord!
I have to agree with Gail in the fact I really enjoyed your post summing up the chapter. I enjoyed hearing about your experience with the furniture designer and their philosophies. I also found it interesting how you talked about consumerism and how you only buy things that the style will last. It seems today, people do not think about the lasting part of objects as in the design part. It appears to be more about stability and what is in style at that particular time. When I buy objects for my house, I think if it matches the style I have going at the time. Because most of my furniture was given to me by family, I am forced with a certain style, but I try to add my certain touch. Some of my furniture is a mixture between contemporary design and antique.
DeleteDebbie, I agree with you and Gail for sure! I think all of us in this class kind of have similar outlooks on certain things. I am too kind of a non-radical tree hugger. I get upset when a tree is cut down too. It makes my heart hurt a little. Honestly, I can’t kill anything. I mean, I can kill a spider, but afterwards I seriously start thinking about the life I took. My husband thinks its sweet but my friends think I’m crazy. Haha. I have always felt if you kill something, or change something or in this case cut a tree down it needs to be for a purpose. A purpose you believe in. I think this is what Nakashima did with his designs. He cut a tree down and instead of making it look like a ton of other cookie cutter furniture; he gave it a purpose of its own. It went from a one of a kind tree to a one of a kind piece of furniture. I think this is a good reasoning why he said, “One who makes things in wood, adopting an approach that seeks to integrate both art and craft” (pp.76). I personally do see his work as a piece of art and craft. I also see life in it still too.
DeleteWhat I personally feel about crafts is that they are items of a functional use, made by hand, and that some machine tooling is used. I consider crafts to be an art, or at least some crafts, such as pottery, wood working, fiber design and stained glass. I place great care and value on them, for they are usually sold at a higher price, as a result of the artistry and time involved in the piece. Crafts are more expensive that store bought items, narrowing down the types of consumers who can purchase them. The items are often found in specialty shops, and usually made by local crafters. Some people view craftsmen as hippies, and do not understand their work. The lesson I have learned from all of our reading is what defines a craftsmen, and the metamorphosis it has gone through up unto this point. I wonder how further will crafts change, and will they no longer the title change completely from crafts to arts? I would like to study my own family history to see how arts and crafts affected them.
ReplyDeleteI agree with you that crafts are usually more expensive than store bought items. Since we study about art and the process of making crafts we know how these pieces are made and the work and effort put into them, but people who don't study art don't know that. They see a price tag and nothing else. Like you mentioned, I would love to know more about my family history as well. That would be so interesting to see how art has been passed down in our family.
DeleteWhat I am taking away with me in a nut shell is that things change, life changes, society changes, but it is the willingness of the craftsmen or artists to be able to make those changes as well. Biases were overcome and new forms of art and thinking were influenced from overseas. The GI billed opened up new opportunities in colleges and universities. It was a new age of discovery in all mediums jewelry, pottery, furniture design, and textiles etc... Teaching changed for teachers such as Peter Voulkos “did not teach as much as inspire by the example of his energy, curiosity, and enthusiasm – osmotic education.”(p.226)
ReplyDeleteI totally agree!!
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ReplyDeleteSurprised
I am very interested in the craft markets. How did museums know who to sell and include in exhibitions. Why are the markets still so regionalized? I called the American Craft Council this week. They have 4 shows a year: Baltimore, Atlanta, St. Paul and San Francisco. It is still so regionalized—East and industrialized North and California.
So here comes this woman-wandering about Texas in the 1940s- and she makes an ashtray…..
Leza McVey is a fascinating ceramicist to me. I had to look her up. She lived in Texas and that might of have been her early connection to Neimans. For quick further research, I called my very old, very dear friend who was the first person to do the Christmas book gifts and Neiman Marcus (if you hear the Marketing person interviewed when the Christmas book is released—all the great stories about NM catalogue’s and gifts are usually about my friend—she was a ball of fire).
I asked her about why Neiman’s had this interest in handmade ceramics. She said that anything new and unique would have had a place in the store at that time. McVey’s biomorphic forms coupled with functionality would have made her ceramics perfect pieces for NM in the 50s.
Impressed
Enamel and early glass work. I am interested in experimentation. The slumping, the laminated, the gold leaf, are inventive and especially innovative when combined. Today, we have so many years and so many documents to help us in our studio processes. I found it interesting how Americans, without a guild structure full of training and secrets, were choosing their mentors and writing books and manuals for the home crafter. I wonder how it relates to the rise of the cookbook. I wonder if we plotted the cooking manuals for home cooks (the original Gourmet Cookbook was published in 1950 and Julia Child’s classic in 1961)—and the manuals for craft—how the graph would look.
Take away—Wood Again,
I love the music stand—how it looks as if it stepped out of Disney’s Fantasia.
I am interested in the beauty of the material maybe a mix of Nakashima and Esherick
I call my Dad, all the time, from work to ask him wood questions, mostly about stain and how to bend wood.
That leads me crafts and my lesson learned:
When thinking about the influence of craft it is close to home. My Dad can build anything. When I was growing up he and my Uncles worked a lot with carpentry and woodworking. I grew up knowing that if I needed anything built, I had a ready resource.
Years ago, one of my friend’s husband died. She asked to help her make a mosaic on his urn
I didn’t really know how to make a mosaic on a curved surface. I told her not to worry because my Dad could make anything. She laughs to this day when she tells this story. She thought, “That’s crazy, of course, he can’t make anything.” He sat with her all day, trimming tiny tiles until they made a mosaic urn. Today, she is convinced.
Lesson learned: to make things considered and beautiful
Perhaps its my Dad’s ability to walk passed all the mess and find the beauty of a tangled old rose bush in the back of a dilapidated house or to look at that wreck of wood and paint and know he could make the house beautiful again, that has made me love handwork of all kinds. It’s appreciation of what a hand touches and creates. What does a person cares enough about to make beautiful? It takes effort to make something out of nothing, with cleverness and ingenuity and to find beauty where very little exists. So much of craft rises from the mundane, the household, the necessary. But when craft emerges from this-- through the love of material or function or simply the love of beauty it is a wonder. The lesson for me is to notice the wonder.
there have been times in my history that I had to fight for beauty, a time when only the ugly, literally called the ugly, would be honored in art...a reaction to what some thought was the easy way out...to make beauty.
DeleteFor me, beauty was the one moment of peace from the insanity of my family
With me, if I see something, anything… it could be literally trash, and I have a spark of inspiration from it, it will stay in my mind forever until I create something with it. I think that spark lets me know if I care enough to make something beautiful out of it. Sometimes it comes so natural and sometimes I only get a small glimpse and then I go through agony searching for that inspiration again. I have notice my beauty comes through when I’m not distracted from outside judgment and I do what I honestly think is beautiful to me with no cares or regulations. Even though it sounds easy, this has been the hardest concept to grasp for me. I also have found beauty in my pieces that speak the truth and are filled with emotion. They are painful to create in terms of being emotional but truly beautiful to me in the end.
DeleteI felt in your phrase --making things considered and with beauty --the feeling when I create something that works or is at least being worked out. I had that last night as I began to rework an idea for this class. Really a paper/cardboard version for a tile I want to make. It truly isn't beautiful but it was that sense of conscious action that feel good almost beautiful. Those moments of creation can take you away from confusion and pain.
DeleteMy surprises for this chapter seem completely different from everyone else's. i'm surprised that the craft world chose to emulate the academic structure of the crusty old fine arts world. Being a rebel by nature, I would have liked to have learned that the beatnik influence took over and bucked the conservative traditions of hierarchy. The chapter opened with a survey of the academics who practiced craft work and their contributions, which schools they floated through and the influence on their students. I was surprised that the previous two decades of craft achievements in design didn't give more of a position to the designer craftsman in the academic world. Industrial design is such an important factor in art education. I was surprised that it was diminished as just apart of the fine arts offerings.
ReplyDeleteAnother surprise for me was how conservative the designs seemed to be. After the age of modernism and the entrance of abstract impressionism, many of the deigns pictured seemed pretty tame.
In addition, since I've worked in glass for the last 12 years I can tell you that the achievements of Michael and Francis Higgins cannot be overstated. What they were able to pull of technically for their time was nothing short of amazing. Glass work requires a mastery of physics and a keen understanding of chemistry. Being able to create large scale glass works in the age of analog controllers and small household kilns is really quite a feat! The fact that their pieces still endure and are not reduced to shards over fifty years later is amazing!
Check out my p.s. under Chapter 7
DeleteGail- That is a good point about the lasting of their glassworks! Even though I am new at the glassblowing and making process, I find it hard to picture that one of my pieces will make it that long. I have looked at the glass vases and china in my grandmothers house and have admire their shapes and designs. Glass works are especially beautiful and cherished by me because of their ability to break so easily.
DeleteAfter reading that you ¬¬were surprised about how conservative the designs were got me thinking and I went back and looked through everything and I agree. I feel like it will definitely explode during the 60’s and 70’s though.
DeleteI'm impressed with Leza Mcvey. I looked for a collection of her work and found this entry. It had a ton of photos.
ReplyDeletehttp://mondo-blogo.blogspot.com/2012/07/leza-mcvey-under-radar-and-underrated.html
I thought her forms were exciting and different for the times. She did reach outside the norm and seemed to manage to walk the line between commercial endeavors and artistic pursuits.
I also was impressed that after WWII Americans embraced asian influenced design. The American fear of all things Japanese caused the ugly history of the interment camps. For Americans to then turn around less than ten years later and embrace japanese influences in their homes is a pretty impressive thing. I'm not sure if it speaks to our innate ability to forgive, or if it shows our need to dominate and appropriate other cultures into our own. It's also impressive that so few people were able to make such an impact in bringing those influences into craft.
I was also impressed with the work done by Voulkos. His ambition to create bigger, more expressive sculptural ceramic and bronze work in the midst of the somewhat chaotic teaching environment is laudable. It seems like he had a real lust for life and a positive collaborative spirit. I bet it would have been fun to be there.
What I am taking away is an appreciation of the social and political impacts on the arts and crafts world. The GI Bill's implications for education, post war domesticity, American financial stability, the new conservative environment, the beginnings of the military-industrial complex...all have a huge impact on the direction of the art and crafts world. I'm not sure why I didn't really connect the two issues, but one clearly has direct bearing on the other.
ReplyDeleteMy other take away is the sadness I feel over the demise of the value of a beautiful functional object. I love simplicity, and modern, clean lines, but i also admire and appreciate a well crafted and decorative functional object. The fifties era seemed to sacrifice the soul of the maker for a kind of plasticized-synthetic "modern" and mass produced aesthetic. I know this continues as time progresses, and also is an issue today. As I sit at my carpenter made Pecan Wood dining table that was cut from a ranch just 20 miles from here, I realize that I personally am much more connected to the handmade object than many of my peers. My husband and i have walls covered with art, tables covered with sculpture and handmade objects, and serve from hand thrown and glazed dinnerware. I never even really gave this much thought until now.
Although i am from the "Target" generation, where household items are slickly produced and marketed by the mega-thousand, I'm just not attracted to those items. t's ironic that I turned out to be an educator and a craftsperson who makes beautiful functional objects. i make gorgeous modern glass sinks that people spit into! it doesn't get any more functional than that!
Future,
ReplyDeleteWhere do you want us to post pix of the craft projects we are undertaking? Do you want to see process photos? I didn't take any of one thing i finished, but I can of others. Also, where did you want the descriptions, etc?
You can post it here. I am the most interested in the final work and your short essay. I would like for those to posted here for all to read/share and sent to me on a CD.
DeleteOne of the interesting things about this chapter that stood out to me was all the marriages who worked together in their art making. My husband and I are both involved in the Arts; he’s a musician and I’m an artist. I often ask him how it would be if we both had the same profession. It was so nice to read about couples such as the MacKenzies, Karen Karnes and David Weinrib, who were artists and created work and continued throughout the duration of their marriages. I also loved reading about those artists such as Margaret Patta who in search of a particular item they turn to art making. I was enticed by her Pendant on page 239. It’s such a beautiful piece. I’m not sure whether I would want to wear it every day or display it on the wall. Allan Adler’s story was another very interesting section to read in this chapter. It was interesting to read how he kind of fell into the silversmithing profession and then passed it on to his daughter. It seems like to me that a lot of the arts and crafts back then were a family affair.
ReplyDeleteA good surprise to read about was how crafts was slowly making its way into the colleges and offered as a major. The book states that craft courses were rare and therefore professors mostly taught the history of their medium and not so much the history of arts and crafts. How interesting that now we are studying both in one class.
Crafts have been a part of my life for as far back as I can remember but I never really thought of them the same way I do now. My grandmother always knitted. She doesn’t knit so much anymore but I remember her always making table cloths, baby clothes and accessories, and her “tortilleros” (tortilla holders) were always very popular around the neighborhood. My mom has been a seamstress since her teens and used to make our clothes when we were kids. I remember her having classes at church for the ladies who wanted to learn to sew. She taught me since I was younger and helped me make clothes for my dolls. My aunt is also very creative with crafts. She used to make some beautiful Christmas ornaments and give them away to family and friends. Now she makes floral arrangements and center pieces. She made the centerpieces for our wedding. Reading about arts and crafts now in this class has put a different spin on what I thought crafts were. I used to think that arts and crafts were the things you do outside of a formal art class and maybe during Vacation Bible School or at home with scraps and left over materials. Now I’ve come to realize that crafts are just as part of Art as paining and printmaking. How did these things become embedded in our lives as just “crafts, not art” if they have been done by great artists before us? How did it change from what the artists in this book were trying to prove to what we came to know as kids?
The difference between art and craft is in the context and the presenter. All processes can be watered down to almost nothing or challenged to be items of surprise/greatness
DeleteRebecca, my thoughts about "crafts" before taking this class are very similar to yours. I agree with you about wondering why there is a difference when we think of them... Crafts, now seem more of an art, a category of art. The things that are considered crafts in this book, I considered them an art growing up.
DeleteThat is really neat that your mother taught you to sow at a young age and that she made all of those things for family and friends. Do you have any pictures of any of them? And do you sow today?
I liked how you said that you used to think crafts was something you did at vacation bible school because I remember that is all we did when I went every year growing up. I always thought craft was sort of like a hobby. Forms of artistic skill, but you don’t sell it for a profit. I have no idea what ever gave me this impression. But just like you said, you remember your mom as a seamstress making clothes for you and ornaments to give away to family and friends, but never sold her work for a profit. I always knew there was craftsman, doing a certain trade for work, but I just always would categorized it as either a carpenter, potter and so on. I never categorized it as craft itself. I guess what I am trying to say is that I always assumed craft was a hobby you did but you have mastered the technique. Does this make any sense? That is why I am grateful for this class, because obviously I was extremely misinformed.
DeleteBrea, maybe you said it the way I wanted to say it! I thought crafts were a hobby too, like you mentioned. This class has been such an eye opener. When I first signed up for it and I saw the name I thought, "Crafts? Why are we reading about crafts?" Little did I know that what I thought crafts were was not what this class has taught me so far.
DeleteSo sorry for the delayed response; I'll post photos of my iron experience after I respond to the Chapter 7 questions and the craft question. I'm still on a little burn out from the phsyicality of casting and my unexpected technology melt-down yesterday. But I am dying to share from this year's iron pour.
ReplyDeleteI'll admit my favorite character from chapter 7 is Paul Soldner. My ceramics professor had lots of exposure to Soldner and showed lots of his techniques and videos in class. I probably never forget the Anderson Ranch video featuring Soldner and his dandelion wine. Totally 60s. The book provided more insight into the early Soldner (I really only knew his later career) and I was very excited to read the portion about Voulkos and Soldner collaborating together, Voulkos as professor and Soldner as student, yet both working together at Otis. Soldner as the father of American raku is very important to the loose handling of firing clay work. Of course Japanese pottery had a huge influence in America--starting with Leach and Hamada.
One personality I found surprising is Margaret Israel; what is most interesting to me is the book describes her as disconnected, "an intensely private person without assistants, relatives, or close friends to categorize or even sequence the work..." She had an amazing breadth of work hidden away in her personal space and when she died unexpectedly all the work was just there, no explanations. I think what surprises me about her is among all these artists that were well represented and shown, she made her work steadily, more for herself than anyone else. I, too, make my work mainly for me and sometimes wonder if I should be more concerned about showing my work and sharing it with the critical art public.
I was strongly struck this week between my reality and my readings. I spent the week in Tucumcari, New Mexico with a broad assortment of artists. Much of our conversation overlapped with the dialog from "Makers." A friend from Alaska that casts public art bronzes from his foundry discussed his struggle to work on his "art;" his primary motive for making being staying in the "black." A new friend that that works at the Institute of American Indian Arts who grew up as a stone cutter discussed his prolific art career that he put on hold in order to expand his education. Iron casting friends that discussed large scale iron casting at Sloss in Alabama and with Donnie Keen in Houston. Two friends discussing their metal fabrication shop in Ann Arbor, MI and the restorative/new fabrication of iron architectual work. I loved my new perspective on their conversations and the mental connections I made joining real art making and our readings from "Makers."
I feel split in my opinion on "crafts;" my formal art education trained me up to almost treat "craft" as a dirty word, yet my family experience exposed me to the beauty of craft as I watched and learned from carpenters, quilters, and rugmakers creating. I was very lucky to have parents that both allowed me to create/craft with any material found at home and enrolled me in extra curricular art programs. My mom noticed and encouraged my art talent from a very early age (perhaps though, my "crayon on 100 yr old family furniture" art piece wasn't so encouraged). As an educator I attempt to leave my statements about art and craft uncolored by personal judgement (although I suppose some bias comes through); I encourage students to use whatever media necessary in order to say what it is they need to say.
Love the idea of your conversations on making art/craft and making a living with a group of iron artists.
DeleteMaybe if we begin to look at these objects of artcraft without first assigning a label. Bad art is bad, bad craft is bad. I believe all good works are both well crafted, well intended as in with an intention or thought even it it is to shock or to make fun...something...and when we have the opportunity to view the work we get lost at least for a moment.