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?
Although it is not studio textiles--I thought you all might enjoy this link: the Behind the Veil is about the fashion, economics and symbols of the wedding dress and veil.
ReplyDeleteThe link would be helpful--http://www.athm.org/exhibitions/future_exhibitions/
ReplyDeleteLynn thanks for sharing that link. That exhibition looks amazing! During my undergrad for Apparel Design, I took a class called “History of Dress” when I lived in Florence. This wasn’t the normal dress we consider now, but actually dated back to as early as dress was recorded for mankind. We studied the textile and fabric manipulation dating early B.C. I was in shock to find out certain traditions are still followed now in current day fashion as they were thousands of years ago. This class taught us the foundation of textiles used as body ornamentation and was really interesting. This exhibit reminds me of that class.
ReplyDeleteI am so glad to hear that.
DeleteThis chapter, I have to say, is one of my favorites so far. There were a lot of surprises, but then again, I think the 60’s in general surprised everyone. Even though there were a lot of surprises, I expected them. One of the main surprises I had was that textiles went large in this decade. I have studied a lot about textiles and this was one fact I was unaware of. So that was interesting to read. I also wasn’t aware that the first commercial galleries devoted specifically to craft were in the 60’s. For some reason I was thinking late 70’s. The overall chapter was just a wonderful surprise in general. I liked that there were major changes to craft in this section. Like how artist were being less conservation with their work and taking more risk by being vulgar with their design, or using unconventional (for this period) mediums within their designs or for their designs. There was a ton of artist I really enjoyed reading about in this chapter. For me personally, when I am fixing to start reading a new chapter, I skim through and look at all the photos briefly; that way, when I am reading, I start to reprocess certain photos that I can’t stop thinking about. And when I get to that specific section of that photo, it makes me really enthralled. This is just a habit I have when I am reading a book or anything with photos. For this chapter, I had about twenty photos stuck in my mind when normally it is only about five. This was another surprise of mine and I knew from that recollection, this chapter would be a favorite of mine.
ReplyDeleteTextiles Go Large was one of my favorite sections just because it was home for me. Some of my favorite techniques were born in this decade and developed by amazing women. One of those women I look up to and am impressed by is of course, Lenore Tawney. I love that she developed “woven forms”. I think it stimulated and fascinated the public to see woven techniques in 3D. I remember growing up and my mom had woven forms all over the house. I still see this design used on hammocks, wall dividers and much more in today’s time. I was also impressed that she designed her structure to evoke, water and air. I have always been a fan of knotting and hand weaving (which I am planning on doing for my final) therefore, reading about Zeisler was a HUGE inspiration for me. I googled her work and I could see the quantity of detail that went into her weavings. It was basically “eye candy” for me none less. “Ultimately Zeisler’s work represented the greatest leap from conventional tapestry” (pp. 262). I completely agree with this statement and Zeisler gave me great inspiration. I was also entirely impressed that a Sheila Hicks’ exhibition, “Envolving Tapestry”, “was the first major museum show presenting such work as art rather than as decorative art or design” (pp. 265). I had the thought “finally” that this aptitude was recognized as art. I was surprise to also read that Rossbach was the first contemporary artist to use ikat. His other first time uses weren’t as surprising as the ikat was to me.
Brea, I too grew up with some hand woven items in my home. They were in the form of wall hangings and plant hangers. I remember being awed by the techniques, and the natural beauty they had. I would love to see some pictures of any handwoven art you have done. This is an area I would like to explore.
DeleteA thought to consider when looking at the evolution of craft is marketing and sales...galleries do not run on love. Beyond the problem of how much do you charge for a work of art/craft, is how many of these objects do I want to make in order to sell or keep a supply going. In the real world of making art/craft the balance of making/selling/showing is always an issue.
DeleteI once took a class in the history of economics, and I asked the professor "what was the value of art?". There was no answer but the discussion was lively. As a result the final exam included this question because the professor realized how each of us answers this question speaks worlds on how we see the world and how approach to finance.
Brea, I will agree with you " how artist were being less conservation with their work and taking more risk by being vulgar with their design, or using unconventional (for this period) mediums within their designs or for their designs". I think it is most interesting when artist use unconventional objects to create wonderful works. For example you would never think about plastic sheeting for jewelry like Carolyn Kreigman.
DeleteUnconventional--It's important for artists to shake up their studio craft by branching out into unconventional, or even absurd, realms in order to breathe new life into their work and to influence other artists to expand/grow in new directions. Sometimes we won't see the potential in an object or material, but watching another artist use it we can then visualize new ideas, new constructions.
DeleteThere are those who hold that all art is a reaction to the times. In this time period there was lots of movements against almost everything. And what was not meant to be a movement was call a movement never the less. The hard work is to determine where you/your work fits. Or to simply keep working and let the historians and critics work out where you fit.
DeleteFor jewelry, I was really impressed by Arline Fisch and her body jewelry. I liked the story of how her techniques adapted by traveling to Central and South America and combining textiles and metal in a new way shown in Body Ornament. I was really excited to read that Body Ornament was one of the centerpieces of Objects: USA because I do believe her work was a “metaphor of a strong, growing woman” (pp. 276).
ReplyDeleteI was impressed to see that artist of the 60’s were designing for meaning and change, just like shown in Fred Woell’s jewelry. Reading about Carolyn Kreigman and her plastic jewelry was interesting, since this is my interpretation of the 60’s.
I notice a sexual design trend going on in this decade that didn’t surprise me much, but made me laugh out loud a little, like I was in high school again. Marvin Lipofsky and his “California Loop Series” was one of the images I could not get out of my mind but overall I liked what he designed a lot and how the matte bold colors were so powerful. Along with Lipofsky, there was Tommy Simpson, Harold B. Helwig and Fred Bauer that made me chuckle some. With that being said, I hope I am not the only one in this class pointing out the sexual trend going on, or I will be embarrassed.
With that being said, the main thing I am taking away with me is that I feel as if craft in the 60’s was a resolution because of the free expression and wideopen experimentation discussed in this chapter. I enjoyed these artists breaking the rules and branching off creating new ideas and developments. I loved Wildenhain statement saying, “He had come around to thinking of a vessel without glaze as being “like a body before clothes are put on” (pp. 298). I really thought that was beautiful and true since most of us (or I) think, true beauty lies within, underneath the makeup and clothes. This chapter was exciting to read and inspired me as an artist but also brought my eccentric side out and made me wish I was alive in the 60’s!
When thinking about what kind of show I would want to curate, it would definitely be textiles. I have worked as a fashion designer, done my share of upholstery and I was still feeling the itch. I honestly can’t believe it took me so long to figure out that I am attracted to the textiles themselves. I would love to work with and study different knits, woven/hand woven fabrics, knotting and printing, from different cultures and see how they differ. I am also interested in jewelry and ceramics. Even though I haven’t practice a lot with either, I am eager to master them, since I am attracted to them both as an artist.
I'm sure we all noticed the sexual trend. How could we not! You are certainly not alone! The introduction of the The Pill in this decade brought sexual repression "out of the closet" for gays and straights and began the sexual conversation. It's only natural that the art/craft world would bring this forward as part of their language. The next chapter I'm sure will be even more in your face about it! Bring on the Judy Chicago!!
DeleteGail is correct. The '60's were a time of exploration, literally into space and into our selves. Although the book "Our Bodies, Our Selves" was still 15+ years away from publication, the ground work was already beginning for women to leave the constraints that had bound them for centuries in the work force and in their personal lives. The art/crafts simply helped bring the conversation into another arena.
DeleteIf you also consider the impact of two world wars that shipped innocent young men and women overseas where they were suddenly exposed to a wide range of attitudes about sex/bodies/relationships.
Perhaps artists have always been that "segment of the population" that just says it about sex. And starting in the 60s, they really just started saying it. Blunt, to the point. I have a foot in both words--sometimes it is great to "get" the underlying sexual content of a work, the subtly sexy, and then sometimes, why dance around the issue--just say it! There is a time and place for both methods of sharing. The great thing about most artists, from my experience, is that they are flexible enough to engage both kinds of art.
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ReplyDeleteSurprise
ReplyDeleteThis week I would like to change surprise to make me giggle.
Every time I think about Christian Schmidt as Abraham Isitshit with his thrown together jewelry, winning a prize, I giggle. The story in its entirety is funny- from a taking the time to make and submit something the artist’s considers junk to that same piece being awarded a prize, to the exasperation Schmidt felt after the award.
My very old sculptor friend gave me one of his favorite books from the 1920s called Gog. It talked about a sculptor- making sculpture out of smoke. This smoke sculpture was highly praised by the critics but like the Emperor’s new clothes didn’t really exist (in this case as sculpture). That story really bothered Luis—who generally accepted everything as art and as worthy. The post war era seemed to grapple with that question of “What is art?” and the role of the tastemakers. This highlights the role of curator. One person can influence taste and public opinion—at the right time, in the right venue.
Influence
Sheila Hick’s tone on tone wall textile is truly a thing of beauty. The most influential thing to me is the Body Ornament. It is beautiful and symbolically significant because it represents the strong, growing woman. We still see those influences today. It reminds me of all the decorated necklines. So much of the weaving has been imitated, it nice to see the root of it, the beginning, the spark. It was sculpture that was soft and moveable. Instead of standing stiffly in the environment, this work reacted to the environment. It reacted to a person, perhaps the person wearing it. For some pieces, like the Body Ornament, any human movement could change it. It reacts with humans. The wearer, the viewer and the textile all are altered. That is amazing.
Take Away:
From the Sublime bringing tears to viewer’s eyes, to the shocking or revolting, art has moved people. It can capture the imagination of a decade. It can make us giggle, at arrogance and change and opinion and the human condition.
Wendell Castle’s beautiful objects speak of industrial design, sculptural environment and materials. His Molar Chair moves back in to the makes me giggle category—its whimsical and interesting.
I find the textiles so exotic and so typical for what I imagine, the next decade, the 1970’s to be. The variety of material in weaving is fascinating --the flowing, jelly fish shape of Sekimachi, Nargare III is so organic and beautiful—made of nylon. There is an element of delicate container to it. It reminds me of the object which would be made to catch something that looks like Nargare II—we have the seeds of both creation and destruction in every moment.
Show to Curate:
All through the 30-60s, a man named Alan Lomax was saving bits of our cultural history by recording disappearing folk music. It ultimately gave rise to the American Folk Life Center. I would like to coordinate music and craft. I would like to engage all of the senses--perhaps just like the curator who was criticized for his art of baking exhibition-I would like there to be an edible element, gift shop or café.
With a quick survey--I would want to curate a show of all 3-d craft, beginning with the Shakers—but just a brief pause for history. It would capture craft and design in wood, and glass, enamel and textiles. The music would play at each piece. The tags would discuss the innovation, the experiments, and the handwork. Experimental pieces would designate the situation of craft now. Hands on: Demonstrations and talks (artists showing their process) would be part of this exhibition.
Lynn-
DeleteThat would be a great show. Especially since bringing to art & music together would in some cases bring in two separate audiences that would be introduced to the crafts or the music which ever they were not familiar with.
I agree with Martha. That would be a great show. I think the music would also help stimulate feelings toward the art and help create even more of an emotional connection. Very cool Lynn! I would certainly be an attendee!!
DeleteGiggle is good. I love being able to laugh at/with any object made by other artists working/playing. Thank you for reminding us to simply enjoy without all the serious theory.
DeleteAlan Lomax's daughter lived in Lubbock ( I think she has since passed). What a legacy for a town already supportive of music, especially music with words. If you will remind me I will bring a catalog of a show I curated called " Honky Tonk Visions". It was too much fun.
I loved reading about jewelry and metals in this chapter. I enjoyed my Metals class in college and can’t wait do it again sometime in Junction. It surprised me to read that craft was shifting away from “utilitarian forms” to pieces displayed in a museum. (pg. 257) This kid of answered my question from the last chapter about how we came to see crafts and how the idea of them changed. The change of making crafts for a particular use became making crafts for the sake of having them displayed in a museum. My favorite piece in this chapter is Figure 8.16 Arline M. Fisch’s Body Ornament. The piece is absolutely breath taking and it reminds me of a very modern Indigenous poncho. When I was living in Mexico as a kid, there was a particular day when member of the Catholic Church would have a parade around the neighborhood and the MatachÃnes would dance and people would follow them carrying a large sculpture and photographs of the Virgin of Guadalupe. The MatachÃnes would wear very intricate, mostly embroidered, costumes with bells on the bottom of the skirt. This piece reminded me of that costume; a very modern version of it. Although it’s not embroidered like the MatachÃn costume, the book states it was the metal was connected to the fabric and was flexible when worn. I picture the metal making a little bit of a clinging noise when the person wearing it is walking. Maybe that’s what made me think of the MatachÃnes.
ReplyDeleteI found it interesting to read about how furniture also changed into an art that was displayed at museums and galleries. On page 284 it is stated that Wendell Castle said that reading about Esherick taught him that “furniture could be a form of sculpture.” This is very interesting. I never thought of it that way but it is true, especially looking at Figure 8.24 on the same page. What a striking piece. I actually first thought it was metal and then I read the description and realized it’s made of mahogany. This piece is such a perfect example of how crafts, even furniture, were not made to be used and sold at reasonable prices for the every-day user but mostly for display and appreciation.
The kind of show I would curate would have to be jewelry. I’m drawn to that form of art a little more than the others mentioned in this chapter. Although I don’t generally work with metals, I truly enjoyed the class I took in college and would love to learn more about how the works I curate were produced. Like all other forms of art, I would love to see the change from earlier works to most current.
I too am a jewelry lover! The category of Art Jewelry addresses jewelry in the realm of wearable sculpture. There are some fantastic artists working on that medium. Check out Gordon Uyehara form Hawaii. His works are not everyones taste, but wow...that's sculpture.
DeleteFinally I get to sit down and write. I got through the first half of this chapter earlier this week. Like you and others I was blown away by the progression of jewelry and metals. When I turned the pages I got stuck on Charles Loloma and the bright color coming from his bracelet. After reading a bit more I kept thinking in the back of my mind why it stood out so much. Prior to the 60s from what I noticed is much of the jewelry is clean, polished, and tight. Color was simple, it was brass, or silver, ivory, jewels, etc. Now clean geometric forms seem arbitrary. The abstraction of jewelry shows me how artists began becoming more aware of their material. I feel like the artists are realizing that the beauty of the raw metal was not the sole aesthetic necessary. It was surprising to see this shift, from craft and function to craft and aesthetics, in a medium.
DeleteThe Arline Fisch body ornament is beautiful, when I first looked at it I wanted to see it move or be worn by someone dancing. I wonder how heavy it would be.
DeleteI also noticed the Loloma bracelet. I was struck with how architectural it seemed and how refreshing the colors are together.
The Arline Fisch body ornaments was one of my favorites as well. The detail that went into that piece is so ambitious and beautiful. I had the same perception as you Rebeca about Wendell Castle and furniture becoming a sculpture form. I like how he said that furniture should not be derived from furniture. I have never looked at furniture in this perspective before either. His pieces were indeed sculptor for sure though. Really Amazing.
DeleteThink about jewelry made from other materials. Think outside of the box.Use your rich cultural history ... the sound of little bells or cones (as in New Mexico) that make a wonderful sound when the wind blows. Find and celebrate what makes your artheart beat.
DeleteMartha, I, too, wondered what it would be like to wear that piece and some of the other works from this chapter. It's almost like the jewelry takes the prominent role in the person/ornament relationship--Ha! It would take a strong personality to wear the work well. In my own "ornamentation" I do lean towards items that will make a statement...comfortably. Heavy or excessively clunky pieces turn me off.
DeleteChapter 8: 1960s. Youth Culture, Counterculture, Multiculture
ReplyDeleteI think the size of the work grew in size to fit museums because they wanted to shock people. A beautiful work of art is going to be even more impressive by the size.
Kind if show I would curate: I think if I could curate an art show, that It would be more like a big collection of experimentation with a variety of media represented. I tend to be drawn towards paintings with a super realistic approach and an pop art twist. I guess because my own artwork tends to be this way. I also like aggressive brush strokes in directions that give the painting some expression. I am impressed with the large scale artwork as well. I think large scale work impresses people because of the size itself. When I look at a work of art, I have a tenacity to notice details and the brush directional stroke of the color of paint.
I was surprised to learn that "the public understanding of craft" was "newly invented as a protest, and its amateur quality lowered standards" (p. 256). Why is that? Is it because of the appearance of hippies and the assumption they are the free spirited ones who create crafts? When it comes to hippies and the rebellion against the Vietnam war, i think of the movie Forest Gump or Across the Universe. Are those scenes in actuate?
I was taken away with Rose Slivka's quote about the 1960s and how "the hero is no longer the man who makes he money but the man who has values beyond money- the artist, the intellectual- and the work he does to which he transmits the value" (p. 256). It seems today that a hero is someone that is not only courageous, but someone who is driven with a kind, loving heart. Sometimes, the social media just focuses on the heroes at war instead of the everyday hero.
I thought it was inspiring when Tawney "was almost fifty when she made her first great change" in her textile artworks (p.261). This is inspiring because it shows us that even later in life, there are artist still making discoveries with in their own work. I love that she is exploring even years later with her chosen media.
The over the top plastic jewelry was fun to rad about. The large, wild colored, unique designed jewelry seems perfect for this time period. I looked more into Carolyn Kreigman, but could not find any other images of her work. Could anyone or did anyone try? I tried to picture someone walking down the street or wearing her "Plastic Neckpiece" at a party. The necklace seem to power them or not stay on for a long period of time. At what point does fashion turn to uncomfortable and is that necessary?
I was impressed to learn about Dominick Labino and his work with glass. Because I have some experience with glass, I am interested in getting the Visual Art in Glass book. The book sounds appealing to me because of his connections to technology and explanation of color.
When I read your comment, "At what point does fashion turn to uncomfortable and is that necessary? " I immediately thought of women's high heels! It's comical to me that we wear (and I certainly do) these ridiculous shoes that kill our feet, that we can hardly walk in, and that cripple us as we get older. The thought of wearing an uncomfortable necklace is no big deal to me compared that fashionable torture on our feet. Also, just to appear smaller waisted (for fashions sake) or have smaller thighs, we wear (and I certainly do) those horrible spans/girdles under tight dresses, etc. Here's the rub... Would men do any of that? I'm thinking... not so much!
DeleteHaha, I was actually thinking of shoes the other day while listening to Santana--he has a line of ladies' shoes, all sexy and high. I thought, "why is he designing shoes? He doesn't actually have to wear the painful things!"
DeleteI too thought about comfort when looking at some of the excessively large jewelry pieces. I'm someone that doesn't tend to wear a lot of jewelry, but when I do, if it becomes too cumbersome or too much of a bodily presence I tend to never wear that piece again. However, I'm learning that there are people out there that place fashion or art high above their personal comfort and will wear all sorts of adornment or clothing that goes far past uncomfortable. I don't think it's a vanity thing...just some folks are really into expressing with their wardrobe. :/
Oh, and another thought, about the weavers in this chapter that came to weaving later in life--I loved hearing about their transition into a new way of making. Why not? I think ahead for myself and know that certain elements of my artistic oeuvre will have to change as I age and am no longer able to put forth the energy I use casting, fabricating, lifting and moving. (Not that I'm saying these women took up weaving because it's easy or not as physical as prior art methods). For me I create with guns blazing, no thought for ease or "working smarter, not harder." I also look forward to the time I have to transition through art disciplines--hopefully what I say will be an overarching theme despite changing of media.
DeleteComfort in jewlery, clothes, and shoes is my moto these days. I know when I wear big earings it hurts my ears, big jewlery it gets in my way, tight shoes hurt my feet, and ncomfortable clothes makes me feel self consious. This was not always the case, but as I get older I think of comfort first and good design second. Its what women do for the sake of beauty.
DeleteI agree with you all on the comfort topic. Imagine if all the women still worse corsets and hoop dresses. That would be horrible…I think in terms of jewelry, as a designer you have to pick the materials you use very carefully so it doesn’t get incredibly heavy. That is the deal breaker for me. I can wear big jewelry but if it is too heavy there is no way.
DeleteBlair, a comment on "hippies"...there is no one image or one definition. The force behind the movement was to be individual to find yourself. In some areas, for some, the journey was aided and/or harmed by drugs for others it was a spiritual quest for others a return to nature and making everything by hand. The beginnings of the women's movement, the rise of black power, La Rasa, AIM, all the energy in finding some sense of self was scary to most, exciting to many. Some were lost in the haze or the hip, others found some answers and then went on, but the nation as a whole had to re-think everything.
DeleteWow! Surprises... Mostly I surprised myself! My sensibilities have alway been modernist and I love scandinavian influenced design. The 20's, 30's and 40's were my favorite design influences. Except for Eames, the 50's does nothing for me. I expected to hate the excessive psychedelic influences of the 60's, but instead, I was completely surprised by my love of the funk style and my attraction to Lipofsky's, Woell's, ad Arneson's, rebellious styles. I was born in 1965, so I'm guessing my biases are based on what I'm considering the kitschyness of the objects from my early childhood. My mom had great taste, and a lower budget, so we had the best of industrial design and mass production from the previous three decades. Nothing current (meaning the 60's) was ever showcased in my early environment, so I became indoctrinated that it was all crap. So my surprise is that in this chapter I'm intrigued and excited by the funk artists who embraced the alternative and thumbed their noses at conventions of the past. Who knew? J. Fred Woell is still teaching in his late 70's so there hope for me yet! I'd love to take a class with him. I'm a fair enough metalsmith that I could likely hold my own, but I think I'd be pretty intimidated!
ReplyDeleteImpressive... By now we all know I'm a glassie, so what impresses me is usually in the glass realm. I also love metal smithing because of the immediacy of the work. What was impressive to me in this chapter is the beginnings of studio glass, and Harvey Littleton's willing it into being.
ReplyDeleteIn today's world it almost unheard of to begin a crafts revolution simply by pushing it into happening. We are so much more formalized in the academic world today, so the idea of beginning entire departments from nothing is rarely realized. Just the fund raising and internal lobbying alone, is enough to kill the idea, no less the spirit. The idea that Harvey Littleton brought together industrial fabricators (blowers) and academic administrators to develop an experimental glass studio environment in a university environment is mind boggling by today's standards. This is no simple task. The amazing thing to me is that this never happened earlier with flat glass, given the popularity of Tiffany's and FL Wright's flat glass work. It seemed that the earlier times might have been easier to make this happen. I suppose that everything happens in it's time though.
Additionally I was impressed with the enameled work of Harold Helwig. I am currently teaching a class in torch and kiln fired enameled jewelry and I can tell you first hand that what he accomplished in painting with enamel is difficult (impossible for me) and astounding. Especially in black and white since the enamel (glass) is of two ends of the spectrum from a viscosity standpoint. Black is soupy and melts quickly, sometimes even before the white becomes soft depending upon the density of coverage, so his figures had to be doubly difficult when coupled with the size issues, the chemistry differential and the physics issues. Yikes!!! and WOW!
Also, I can't leave out Wendell Castle! That desk pictured in his section of this chapter is captivating in design. The stacked lamination process is so interesting. We use it in plastics, glass, and wood amongst other materials. It was a true departure from the school of honoring the purity of the material.
DeleteI also have to mention my thanks to Stanley Lechtzin, the experimental jeweler who brought electroforming into the craft jewelry world. I teach this process to my glass and metals students and they fall in love immediately. It's not a common technique and is very science burdened, but can create fantastic results. Just reading his section made my ideas fly and now I can't wait to try some new things. His work inspires me to to electroforn some common objects and encrust them with stones. I'm going to have to try this!!
As an aside....I'd totally live in Miye Matsukata's bracelet pictured in her section. YUM!
I was intrigued by Lechtzin's textured piece! The explanation in the book helped me to understand his development of all that amazing texture a little better, although I have yet to actually electroform anything, so I won't entirely understand it until I get my hands involved in that.
DeleteAnd Castle's desk was amazing!! It's my idea of "mod" furniture that I don't hate. I think why I shy away from mod or contemporary furniture is because it looks so cold or is cheaply made. Castle's work can't be described as either cold or cheap looking--his is truly an artwork...that can function as a desk. Lovely.
I liked his tooth chair too--not because it looks the least bit comfy to sit in--but because teeth are on my mind as I've been battling grinding my teeth for the last year. The piece takes all my obsessive thinking of teeth and puts it as a huge tooth in the room! Ha!
I also was impressed with Helwig's work. When I googled him it seems he taught a workshop in 2011, but when I looked further he passed away in 2012. It is exciting that you are teaching a course that mirrors what we are reading about. I had read how hard it was to work with black, and your posting helps me understand it a little more.
DeleteGail, I want to know more about your enameling class! That sounds really neat. How many students do you have what ages? I also would be interested in seeing or knowing what kind of projects you teach.
DeleteI agree with Melanie, I am interested in knowing about your enameling class! That has always been an interest and goal of mine to take a jewelry/enameling class. That was what I wanted to do at Junction. More details please!
DeleteWhen you said “In today's world it almost unheard of to begin a crafts revolution simply by pushing it into happening. We are so much more formalized in the academic world today, so the idea of beginning entire departments from nothing is rarely realized. Just the fund raising and internal lobbying alone, is enough to kill the idea, no less the spirit”. I couldn’t agree more. I kept thinking this same thing when reading the last couple of chapters.
I have only watched other enamel and now, after looking at and reading about the works from Chap 8/9, I want to have my hand in enameling. I have taken jewelry (small metals) classes before, but found my lack of patience with soldering and smallness a deterrent to more classes. Maybe now I have the patience for it? (I'll probably always prefer a MIG and large scale steel).
DeleteMy take away from this chapter is really very simple. Get my head out of my proverbial *ARS! I've been so enthralled by the Bauhaus and Cranbrook that I've failed to see the exciting a revolutionary works of those who came after. I've always loved the Pop movement, but never opened my eyes to the Funk revolution. Consider me converted! I'm going to loosen up.....considerably!
ReplyDeleteAdditionally, I have anew found respect for the textile folks and what they've accomplished during the 50 year span we've been reading. They've come a long way! It's not my chosen favorite of the craft mediums, but I've developed a much stronger respect for the discipline.
I have to say I feel the same way about textiles too.
DeleteNice, the perfect result of a good book...to re-evaluate what you have held dear and defended for a long time. YEAH.
DeleteI agree with you as well Gail. I have always been interested in other ceramic artist and their works but I have never had the urge to try it myself…until now that is. I have taken a class on beginning ceramics but I have never thrown before, and honestly that’s all I am thinking about trying now. This book opened my eyes to ceramics for sure. Just like how you and Stephan feel about textiles, I feel about ceramics.
DeleteChapter 8 Response--
ReplyDeleteYea, fiber art! I finally felt enthusiastic about the fiber art shown in the book. I enjoyed reading about the previous artists and works from earlier decades, but I really, really loved all the wonderful textiles of the 60s that broke from traditional fiber craft. My favorite of the bunch was Sheila Hicks; could her amazing wall/hung pieces get any more fabulous? I love how the line between fiber and sculpture was blurred by this generation of artists. Texture and color stepped up big time! Claire Zeisler's "Red Preview" flashed me back to my undergrad "Gender and Sexuality in Art" class; I loved how her woven forms could stand all on their own! As a sculptor myself, there's always this preoccupation with how your work will appear within space--pedestal or none? Hanging mechanics? The way Zeisler's pieces defying laws of physics gets my own mind whirling through how that can translate into my work. There also was an element to weaving in this chapter that involved non-fiber materials; Sekimachi's woven black filament piece and Fisch's small metals pieces of woven wires. It made me think of Karla Black's current installation at our Dallas Museum of art--crocheted dry-cleaning plastic into a monumental scale "fabric".
I was surprised to see Magdalena Abakanowicz included in the weaving discussion; I know of her only through her powerful sculptural work. I love her bronzes and large carved wood pieces a lot--and realized after looking into her woven abakans that although I had seen her fiber artwork, I had classified it under sculpture. I like the way this generation of artists push those classifications in a way that defies categorizing of artists.
I was also surprised to see S. C. Johnson step up to sponsor the Objects USA show. Corporations do support the arts many times, however it seems to usually be the "safe" art, or art that was "dangerous" 100 years prior. I was very pleased to see the broad scope of the Objects show and to hear the book's author narrate the sometimes extreme personalities of the artists. The book does mention the two wood workers that didn't seem to fit within the show--Simpson and Blunk--and I was most intrigued by their pieces. Simpson seemed to just barely fit into the wood craft category; I viewed his piece more as anthropomorphic sculpture work than furniture. Blunk's carved redwood just blew my mind. As a Plains person, the idea that trees grow that large is only an intellectual knowledge to me (so I guess not everything is bigger in Texas). I also loved how Blunk's Planet piece commands the space primarily as art object and secondarily as functional furniture piece.
I loved thinking "finish fetish" about Ken Price's sculpture work, to have the school of thought brought up a few pages later. I came across the finish fetish LA work in my "Gender and Sexuality" art class and when looking at Price's work I couldn't help but think of images from that exploration. A few weeks ago a great Ken Price show opened up at our Nasher Sculpture Center here in Dallas. I was very intrigued to see a ceramicist headlining the space. Now having read about Price in our chapter, I think a second visit is in line for me.
"I was surprised to see Magdalena Abakanowicz included in the weaving discussion; I know of her only through her powerful sculptural work".
DeleteI also noticed that many of the artist's did work in different media, and also that at least two of the textile artists studied sculpture with Archipenko. I was just in Dallas & knew I should have gone to the Nasher I will have to go soon.
I too liked the Red Preview. Quite a feat of engineering. I likes that she represented both male and female sexuality. Not easy to do and be subtle. Impressive.
DeleteEmily, thank you for sharing the thoughts about Karla Black. Since I am currently working with wire for my final project, I have a common interest in the artist who use wire in their work. When I googled her name to see examples of her work, I noticed how her work seemed flexible and flows like a thin piece of fabric. Thank you for sharing.
DeleteThe next time I am in Dallas, (hopefully in a couple of weeks) I definitely want to check out Karla Blacks exhibit. I love her unique choice of materials she uses for her sculptors. I found an interview with her discussing: Materials, Meaning and Messy Moments, with FrontRow. It’s an interesting read. The link is below.
Deletehttp://frontrow.dmagazine.com/2012/11/interview-scottish-artist-karla-black-on-materials-meaning-and-messy-moments/
OOOH, OOH, OOOH!! You MUST check out the Cindy Sherman exhibit at the DMA!! It is amazing, very powerful. Brea, let me know when you are in Dallas, I can go with you (if you want) bc I get free tickets with my level of membership. Other Dallas folks, you guys are welcome too, if you want to see it for free. Seriously, the Sherman show and the Chagall are definitely worth one, two or three go-throughs. Although the pieces in the Sherman weren't familiar to me, I did have some flash backs to similar pieces of photographic imagery I had seen in the 90s, perhaps they were her work?
DeleteKen Price is currently at the Nasher--worth seeing as well! I've only done a quick run-through of that show, but loved having the "real life" connection to our reading.
Sculpture is large category, fiber, metal, bronze, steel, wire, clay are mediums used to make sculpture...Just like 2D or 3D are very simple words to cover very large areas.
DeleteI think the reason why we associate an artist with only one medium is because that is all we know about any one artist. The reality of fame is the prevailing major art work that overshadows all other work. Especially older work or experimental work or heaven forbid bad work. Really we do we have a chance to see an entire body of work, witness the back and forth of ideas, the works that almost make it but are off or really get to see the struggle for new ideas.
Another great spot of discovery in this chapter for me was the mention of Loloma and IAIA. I have cast iron with IAIA instructors and students for the last three years. It was a great epiphany for me to connect the people I know with the textbook.
ReplyDeleteI bugged one of my friends, Adrian, for a little more context on the school and Loloma. He is a current student; nontraditional I suppose because he first developed himself as a Native stone sculptor and supported himself from age 18 til last year as solely a stone artisan (about 20 yrs). He went back to school at IAIA because he wants to transition from the market into education. According to Adrian, IAIA actually started out as a Natives-only boarding school in the 20s. In the 60s it transitioned from boarding school into art school, still primarily for Natives. Adrian told me that even today the Indigenous studies element is present in all degree programs at IAIA, although according to him (raised in a traditional tribal home) the school is very Western in thought. In 2005 the IAIA became fully accredited.
I asked about Loloma, who taught at IAIA for a few years in the 60s. Adrian described his legacy as flamboyant artist, a powerfully artistic personality. His work still influences a lot of Native work, who I suppose work in "Loloma style." I asked more about traditional styles and themes; Adrian explained much of the symbols found in metal work, silver work, is actually Moorish from the Spanish influence. What I hadn't considered is that prior to Spaniards introducing metalwork (silver smithing) to these Native cultures, they had no artistic vocabulary for metal work. Of course 300 years later these Moorish symbols and ways of working are now a part of their metal traditions. When Adrian talked about his own work and it's influences, he put more emphasis on the pressures from the market influencing his style than on that of pressures from family or tribe. He did admit that being in school gives him the freedom to branch out artistically in directions that he wouldn't have taken had he still been making primarily for galleries.
One final interesting thought about IAIA: Adrian told me that the way IAIA is financed is directly though the US congressional budget. The school has been watching all our budgetary drama of the last year/months, wondering how the budgetary circus will affect their programs. I wondered if perhaps there was another way to fund the school that wouldn't be so feast or famine depending on which way the budget goes year to year or reigning party to reigning party. The school is an amazing institution (that I'd like to visit in person), it seems a shame that it's growth is so affected by governance from afar.
Thank you for the new information on a wonderful institution.
DeleteWhat impressed me the most was the change that weaving took during this decade. Textiles were increasing in size; it was moving away from utilitarian pieces toward expression and sculptural form. Different forms of medium were also being used and incorporated in non-traditional ways. Architects were taking notice of the new forms of fiber art commissioning artists to make works for commercial institutions to be displayed. One such artist was Leonore Tawney, for she made open-warp pieces, and incorporated feathers and other objects, and used wood slats at the top and bottom of the narrow woven panels. They would be suspended away from the walls so that shadows, would add another dimension to the work. She later abandoned standard weaving formats, inspired by Peruvian gauze weaving methods, and began to make “impressionistic tapestries with open warp works woven in two layers with a space between, she called them “woven forms”. (p260) Claire Zeisler another maverick in weaving made the biggest change, for she abandoned the loom all together in favor of knotting, learned by her Haitian assistant. It offered her opportunities that loom could not, for her Piece the, Red Preview, 1969, stands on it’s on from the floor up is 96 x 60 inches, is sculptural in form, and a solid color of red. When Zeisler moved away from weaving on the loom she was now moving under the umbrella of textile designs. The other thing that impressed me with the weavers was the work of Lillian Elliot, a fabric designer. She made a wall hangings and quilts. One quilt, A walk with Cezanne, was a collage of very tiny pieces of many different colors of fabrics, appliqued and embroidered. Kay Sekimachi used alternative materials and methods on a loom, when she created the three dimensional sculpture, Nagare III, using fishing line. Before this decade in our reading I would snooze on through the textile section, but in this decade I sat up and took notice, and was amazed and inspired with the 3 dimensional pieces of art that these women were doing. Two of them still wove on a loom while the other two did not, so would all of these women be put under the same umbrella as fiber design, or weaving? What impressed me in the furniture section, was the attention being given to the wood itself. The colors and graining, and how it can be best used to enhance the furniture, as in the work of Bob Styockdale, and Rude Osolnik. I was also impressed with J.B. Blunks, Planet (Seating Sculpture), and his unorthodox approach to carving it out of a tree with a chain saw.
ReplyDelete"Snooze," LOL. I agree with you; these textiles do not let you passive engage! They demand your attention and your reaction. Although I have very limited weaving experience, I understand enough to be very impressed by the amazing undertaking a lot of these work required. That "Red Preview." What a powerful piece--I think it still is very fresh and important in our current times.
DeleteWhat surprised me the most was Funk Art. According to the book Funk Art is “a term that came to mean irreverent and vulgar.” (p.300) Seliz wrote that “Funk Art is earthy, gutty, and sensual. It makes use of an imagery that is organic and biomorphic, and includes sexual, scatological and other subliminal associations.” (p. 301) I had to look up the word scatological, for I wasn’t quite sure if I knew what it meant. My thoughts of the word were correct, for it is defined in the dictionary as a “preoccupation with feces, filth, and obscenities.” Robert Arneson, a potter, decided to break out of the norm of conventional pottery making, and to do something outside of the box. He “wanted to find his own voice. He wanted to tell the truth about ceramic identity.” (p.300) So “he made a ceramic commode, misshapen and rough-surfaced, and “cut loose and let every scatological notation in my mind freely flow across the surface.” (p.300) This was the beginning of Funk Art, which is associated with Arneson and his students. I like to think of myself as open minded, but I am not sure what he was trying to tell his audience with the toilet, and ceramic turds. I went online to see some of these works to determine their meaning any further, but could not see any detail. The only thing that I can induce from the toilets is that everyone uses one, that shit happens, and the arts sole purpose is to shock and disgust its audience. I also do not understand the usage of male genitals in various works of art, other than it is used for shock purposes, as in the clay piece by Fred Bauers, Like-a-Flex. This piece of work not only offends me, but somehow makes me feel violated as a woman. The next thing that surprised me was the direction that clay was taking. The works of Fred Bauers, Jim Melchert, Ka-Kwong Hui, Ken Price, and John Mason associated themselves with sculptures and painters developing the aesthetic known as “finish fetish.” (p.296)The pieces did not look as if they were made of clay, and were purely expressive in nature, and were painted with intense color glazes, and automobile paints. The furniture surprised me for Wendell Castle having a background in both industrial design and sculpture took a new approach to furniture. He appreciated the inherent tree characteristics in the utilization of wood. He “wanted to escape the rigors of traditional furniture “I believe that furniture should not be derived from furniture …To me an organic form has the most exciting possibilities.” (p.284) His piece the Johnson Desk, was made of stack-laminated wood a beautiful example of his work and beliefs.
ReplyDeleteI can understand that the Funk Art movement can be offensive, but the thought of thumbing your nose at convention makes me smile. The toilets didn't have to be pleasing as art, just a commentary about sameness and difference. Maybe I'm reaching, but I read the phallic lens on the camera as a commentary on the rape of candid photography, especially in the celebrity culture of the 60's. TV and magazines proliferated in the 60's so the photographic image was a pretty powerful tool that became very intrusive. That's how I read it. Plus, you know i have a sick sense of humor Miss Deb!
DeleteFunk was a way to make fun of, to challenge, to laugh at life and the reality of living. Some of it was crude, much of it (especially) the later work out of California, was just funny, sexual, anti authority. It included putting flock on ceramics, luster glazes, silliness...anything to make what looked functional non functional.
DeleteGail, that is a brilliant cognitive behind the phallic lens and I think that actually makes perfect sense.
DeleteI don't know much about the funk art movement but it sounded to me like, while reading the chapter, what I know about low-brow and underground art. What some people may seem as "offensive" others see as expression and individual views of a certain topic.
DeleteFlocking ceramics. I just love that concept. I actually laughed a little about that--my friend/prof recently started using this weird fishing lure paint on his cast iron works (Godzilla and other pieces of "cartoon" culture) that very much resembles flocking. Something in that texture, insincere and touchy-feely all at the same time. I might try it out on my final project piece for this class.
DeleteRebecca, the funk movement was more academic...college based than the grass roots of low-brow or underground art. And for all its in your face it was no were near the gritty work of low-brow.
DeleteWhat I am carrying away with me is that the craft movement has morphed into an art form of self-expressionism, and away from functional well-made utilitarian pieces. There is no longer a concern with competing with industrialism, and most works are one of a kind and non-functional. There are many new materials being used, such as laminated woods and plastics, and new techniques in jewelry and pottery. Art was increasing in scale. There was confusion with the public as to what was a craft due to the hippie movement; making people think they crafted was newly invented as a protest. With all that said crafts did not disappear, but was able to adapt and form to diversity. There was more of a sharing of knowledge, and a sense of community, and not all craftsman made changes in their work, choosing to continue the craftsman ideology thus keeping the crafts alive.
ReplyDeleteWhen in Junction I would encourage you and everyone to talk with the clay folks and the glass folks about "well crafted"...I think they are much more dedicated than it may appear on the surface. For the most part, the self expression came long after the conquering of the process.
DeleteIf I was a curator I would have to say that I would want to have a show on pottery. Pottery is something that I have been studying for several years, and would like to bring in works of different categories, so that all aspects of clay can be viewed.
ReplyDeletePottery is such a diverse craft--I'd love to see how you define the parameters of your show, who to include, who doesn't make it. Is it handbuilt or thrown? Is is high-fire glazes or low-fire glazing raku/pit/barrel fired pieces? Functional or Nonfunctional? I think it would be awesome to plan a show that kind of throws ceramics on its ear--shake things up a little. (I have some ceramic friends that need some shaking up). :)
DeleteA whole lot surprised me this chapter. How jewelry evolved and how sensitivity to materials has changed. The material its self is just a means to a specific aesthetic and concept.
ReplyDeleteThroughout the chapters I have found myself more engaged with how furniture has changed decade by decade. First with the craft was durability and treatment of wood or steel which was much more angular, then came the large manufacturing, and more recently the material (wood mostly) has been pushed and pulled into these wonderful organic forms that still hold function. (284, Wendell Castle is a good examle) The Chair!! Yes, I know its so simple, right? We have to sit down, before this book I have never really given much thought when sitting in a chair. That is I did not notice much more than its color or how comfortable it was. Over the past couple months I have found myself noticing more about chairs. How were they made? When? Where? What influenced it? And in most of my daily activities the chairs are more industrial. But I appreciate it more when I visit another house or building that has a "different chair".
This time period seems to blow the hinges off the pure function of the chair. I had never heard of Lucas Samaras, but the little section "Furniture that became Art" was inspiring to certain degree. (p.291) I was happy to learn about furniture being used as more than a functional piece of equipment. I looked up a bit more on Samaras. As stated in the book his altered photography is more common, but i found a few great images of his other chair transformations. The Whitney Museum has a few including the 'Transromation Number 10a' that is in this chapter. Another site Pace Gallery, was really nice to brows through.
http://www.pacegallery.com/artists/414/lucas-samaras
Stephanie, I can relate in noticing furniture and the suttle details and differences between simple furniture. When I look at the chairs in my classroom, I wonder when is the point the chair is art. The chairs are those typical blue and steal chairs that most schools use.
DeleteStephan, that’s funny you said you find yourself noticing more about chairs because I have been doing the same thing recently. One of my supervisors has a chair in his office resembling Walker Weeds, block-back side chair and I kept sitting in it and looking at the legs because I remember reading that the legs of his chair made his recognizable modern.
DeleteLove your thoughts on chairs--the first thing I thought about that Molar chair was "Seriously? There is no way Coco and I can lounge in that thing without slipping off." Although I really liked the Molar and kind of want one for my place. ;)
DeleteWhen I was pre-Architecture back in the day we had to do studies about furnishings based on our personal body measurements--very eye opening to how objects are designed for function/comfort and my own personal body ranges. What's comfortable for me (5'7") is not so comfy for my dad (6'3").
Thanks for the link, too. That was nice to add to what our book offered on Samaras.
I think I was most surprised by ceramics. The range of art created from for example Don Reitz’s, which was described as a counterculture but clearly showed traditional skills even if not used functionally and then Melchert and how performance art oriented he seemed to be in the recording of “Changes a performance with drying slip”. I was interested in reading about the toilets by Arneson as I remember in about 1975 a ceramic student where I was at college (VCU) won some sort of a grant to go to a factory where Kohler was making toilets and he made some very creative ones. I now know where this inspiration probably came from. This chapter did remind me of college and how in the mid ’70 there was as ever widening acceptance of what was included as art and craft it seems. I just had never thought about the craft movement being involved in conceptual art, yet it makes sense now. The comment about Melchert, who saw Voulkos’ work and was “horrified”, made me laugh out loud. Especially since he then left, yet could not forget them. I find that so interesting as experiences that provoke personal change, or a shift in awareness are sometimes like that, kind of love hate.
ReplyDeleteI am impressed how enameling keeps surfacing and it really is I think nostalgic for me. I remember making a broach and earrings as a teenager in art class. I image that was a mother’s day present. I would like to learn how to enamel. I enjoyed the monochrome images of Harold Helwig, on line I found out he taught a workshop not too long ago. The enamels of Karl Drerup intrigued me in the last chapter as well.
I take with me the excitement of new ways of looking at traditional skills and materials; artists with the guts to risk trying something and not feeling confined to their personal traditions or those of the craft they have decided to work in. This was so evident in fibers in looking at the work by Tawny and Zeisler. Reading about Rossbach was also eye opening. I loved the authors description of him as “having an appetite for experience..”. I felt this chapter showed so many that had this appetite and felt joy in it.
The Melchert "horrified" comment--art has sometimes had that effect on me too! Pieces that crawled under my skin; I just couldn't stand them, couldn't stand that they were displayed in a gallery space. But haunted my mind and inspired me later to create a response.
DeleteOh the curator. What an awesome job that would be! As craft moves from function to aesthetic dominance, the galleries must of had their hands full. I like how artist are creating for the gallery more so now than for the home. The ending section about craft and the marketplace was enlightening. This distinction between a shop and a gallery was nice to have made clear. But isn't it part of a curators job to put work in a gallery that appeals to the public? One that is appealing so the public can buy the work, and the gallery can get a commission. But with that comes the markets where artist and craftsman can get more money.
ReplyDeleteAt what cost though? Now that the work is in a marketplace or store instead of a gallery is it any more or less desirable?
What kind of show would I want to curate? I would have to say a glasswork exhibition. Im no expert in glassblowing and I have only had the opportunity to try it on a very small scale. But I have always been fascinated by the process of creating glassworks. I remember watching Dale Chihuley videos (from PBS I think) and being blown away! I had the most fortunate pleasure of stumbling across one of his gorgeous peices in Italy while strolling around Venice. It was a floating piece (in an older form boat, with bright orange and red tapered glass tendrils exploding from the inside) I will try and sift through my photo albums and find it.
This may seem slightly dorky, but I really didn't realize how much labor goes into glassmaking! My nephew (3.5 yrs old) is into marbles lately and we watched a "How it's made" episode on marbles. Some of those marbles require layer after layer, annealing, more layers, good grief! So I'd definitely have a new appreciation for a show about glass artwork. I like Chihuly just fine, but I'd love to see "unknown" glass artists or anonymous glass producers from Italy or other production centers.
DeleteI haven't really sold anything through a gallery (yet) so I haven't had to deal with the cuts that a gallery takes out of an artist's price. I know though that it can be very tough for some artists that either don't have consistent sales or can't really get the prices they need to offset the gallery commissions.
Stephen and Emily
DeleteI hope both of you have the opportunity to watch our glassblowers in Junction. It is a dance, or a whole dance crew might be a better description. Chihuly has helped to make glass an accepted form of art and craft. More importantly he has shown how collaborative work is OK.
I hope Ill have the opportunity to do Junction this summer before I move to California. The timeline is a bit tedious though.
DeleteWhen thinking of curating, there's a myriad of media and movements I'd like to have my hand in, but I think the show that would suit me best as a curator would be one of naive art or outsider art. I'd love to travel meeting and connecting to people from Anywhere, USA who feel compelled to make. Whether they know they are creating art or not, it would be so neat to pull together a grouping of works from across the US to show in the formal setting of a gallery or museum space.
ReplyDeleteI think of artists like James Hampton, the custodian who constructed "The Throne of the Third Heaven" over 14 years from collected bits of foil, tape, and found objects. I've met others in random places that collect and make, seemingly out of their own existence without care for art history or art training. One guy I know has made up his own name and casts figures from Biblical narratives of destruction--very interesting art to behold. He himself is an interesting, almost abrasive, person to converse with.
I'd probably set parameters for the show: like education and access to information, selecting individuals that had limited exposure to "traditional" art education. I know that it'd take time and networking to find the art, but in this day of social media and connectedness, I think that I could end up with scores of interesting characters to meet and interview.
You are one smart lady!!!
DeleteYour shows sounds like an interesting one to see. I like how you would include artists that had limited art education. It would be interesting to see how artwork is different from someone who has had limited art education compared to someone who has had the education in art.
DeleteI think partly what draws me to that is the imagery/handling of media that I see with my very young students. They dive in, shaping, coloring, creating without thinking of too much. Sadly around 3rd grade kids tend to label their art as right or wrong--with me standing over their shoulder saying "no, no how YOU want to make it!" So I'm very interested in adult artists that create outside of academia; they don't know the right or wrong way of depicting an idea--they just do it.
DeleteEmily
DeleteYou would love the Visionary Museum in Baltimore, MD or the Intuit Museum in St Louis. Both are dedicated to outsider art. And if you have the opportunity look up the magazine or journal Raw Vision.
If I curated a show based on my inspiration from this chapter it would be in textiles. I am excited by the size of the works, the 3D aspects and the use of multimedia by many of these artists. The personal, and sometimes social issues they reflected in their art still make the pieces relevant today.
ReplyDeleteI enjoy that many of the textiles artist (and others in this chapter) were not such purists and they used interesting or unusual materials. I am thinking of Rossbach using paper, plastic & photo images. I loved reading about Tawney and how she also had a "union of collage and weaving". I would especially like a textile show that could have an interactive aspect to it. Perhaps a way visitors could inserting or weave something into an ongoing piece in the gallery. I would hope that like Shelia Hicks I would have access to other curators (not likely) and that MOMA would be excited to contribute works to my show. Since I live in Texas i would probably try to highlight textile artists from here.
I'm torn about the type of show I'd like to curate. On one hand I love the idea of a show on form and function, but then I also would love something that was content based. Which ever show it would be it would be multiple mediums. I can't see doing a show that is only one medium unless it's a survey of that one medium. since so many wrist/craftsman/designers work in multiple mediums I think it would be wonderful to see how the same artist handles those mediums. Clearly I'm not committing here, but there are just too many great options. I'd also be intrigued by a show about mentors and their students. This chapter really did reference back to many of the artists we read about in previous chapters. I love how emerging artists can reference their influences back to living artists. I can do this about my own work. So, I think that I'd do a show that has mentors and their students, surveying many mediums.
ReplyDeleteI agree with you that we usually link our personal works to the artists that influence us. At least, I do and I never really noticed I do that. When people ask me what my work represents I usually throw in the usual, "...and my favorite artists are..."
DeleteMaybe we gravitate toward certain artists because we understand their appeal to a certain method of making or we are drawn to their use of color etc. I am always pulled into the mark making by Gauguin and Emile Breton--the way they flatten space with color and their brushmarks, rhythmically proceeding in a vertical direction despite the shape of the form. The artists' lines also pull me in--partly because I have a similar hand in my linear work. When I paint, I tend to model my forms similarly.
DeleteIt helps to know who influences an artist. Although it'a also fun to guess by looking at the art what artist(s) might have had a "hand" in the work.
I loved all your ideas on shows. But, and this is a huge "but" or maybe the elephant in this virtual room, no one included themselves. We will continue this thought in Chapter 9.
ReplyDelete