Final Project & Essay - Gail S.

Rule of Three Necklace and Earring Set

I created this Bronze and Fine Silver necklace and earring set as a tribute to the craft jewelers of the 1920’s and 1960’s. I have always admired the simple, clean lines of the modernist studio jewelry movement, and our readings on American Craft history really solidified my appreciation for the art forms that came from this time.

Modernism, as a design philosophy, came to America through the immigrant-refugee fine art and craft population in the early 1920’s. This concept, born in Germany’s Bauhaus design schools as early as 1917, swept the United States and Europe throughout the 1920’s – 1960’s. Modernist design pushed the highly ornamental Art Deco design far out of fashion very quickly. The new Modernism eschewed simplicity, demanded honest treatment of materials, and a definite lack of flourish in presentation. Items could be hand wrought or partially machine made as long as they stayed true to the ideals of the movement. The artists in this genre generally produced one-of-a-kind, pieces. The pieces could be very sleek or loosely organic, with tool marks visually evident on their pieces. The hand of the artist could be seen in the work. That’s an ideal that harkens back to the original founders of the Arts & Crafts movement.

The following are some of the best known modernist studio jeweler/craftsman from 1928 – 1950’s; Alexander Calder, Sam Kramer, Ed Weiner, Art Smith, Betty Cooke, Peter Macchiarini, Margaret De Patta, and Frank Rebajes,  Ed Levin, and finally Paul Lobel.  This group of artists is highly collected internationally. They are a inspiration for my work in metal smithing and enameling.

The set pictured was created from a simple slab of recycled bronze that was pounded to 1/8” inch thickness. I then soldered and inset slivers of pounded fine silver onto the surface, and drilled holes for the chain. I enjoy working with bronze because it is reminiscent of ancient materials and is malleable enough to take on just about any shape. It is stronger than copper or silver, so it wears well, plus it appears warmer and richer in color than brass. Because bronze is made from 80% copper and 20% tin, when the bronze comes in contact with fine silver (.999), the copper is attracted to the silver and moves to border it on the surface. This process of bringing a single metal to the surface of an alloy is called depletion gilding. When this process happens the surface becomes wrinkled or reticulated in jewelry terminology. The insets appear to have a halo of surface copper surrounding them. They almost look like coffee beans inset into the pendant. The earrings are solid bronze discs with copper and silver beads. Both the earrings and the pendant are suspended from patinated copper chain. The necklace measures 22” in length, as homage to the longer lengths of jewelry (opera length) worn in the late 1920’s and 1930’s.

I created this set a few weeks ago and have completely enjoyed the experience of wearing it. I’ve received many compliments on the set and a few questions about it. Viewers have described it as sleek, simple, organic, clean, and unusual. A perfect addition to my style! Every time I wear this piece  I’ll be reminded of the studio jewelers who came before me and their commitment to modernist design.

on the road

My post will be slightly late.

I am off to Wearherford, Oklahoma for a lecture, workshop, and the closing reception for my show. Even though this is a small college I am just as nervous as if I was at a large museum. Maybe even more so. I will be in the region of some of the best Native American bead artists in the nation, especially for the fancy dance head ware. I feel like I am stepping into a chapter from one of our books.

 More on Tuesday night.

Craft in America, pages 141-206

I loved and hated this section of the book. Loved because since I was in elementary school I have been fascinated by educational styles/approaches. I attended 3 elementary schools and 3 high schools so there was some comparison just based on re-learning the unspoken rules of a new school, not to mention the social code of a new place. From that early age I knew that what was 'the way it has to be" was not always the way it was.

I have dreamed about attending Black Mountain College since I first read of it's amazing cast of teachers. I keep imaging a bead teacher that could give me some much needed advise on how to present my work, or how to  hand dye my cloth or how to just be at ease with what I do. So this section was a wonderful reminder of all the schools that have been established based a love of craft(s).

The section was painful because of the inside stories about administration and finance. For the last 5+ years as the "art representative for Junction" I have felt like I have a begging bowl attached to me at all times along with a memorized plea to attend one of our classes. Don't get me wrong. I totally believe in Junction and the incredible way creativity dances when it is allowed to be supported and celebrated. it is just that the business side is overwhelming at times.Work that puts me at odds with administrators, some professors and more than one person who thinks or trys  to tell others it is simply "easy" or "just light weight". I always bring my own art to work on while there but my time is spent teaching/organizing/checking on the classes/running interference/justifying something to somebody.  Gail I think  you may know what I mean.  Maybe others of you also.

So for this week... I know I have asked you about your perfect class before, I want to revisit that in a new way. Tell me about the best art lesson you have ever received. Who was the teacher, how old were you , where were you, and finally how do you follow that lesson today.  And no it does not have to be a formal classroom teacher, but it can be.

Now for a second question...which of the crafts schools from our book do you wish you could attend . Or if have attended what was it like. I know many of you have had the opportunity to attend other workshops or schools, feel free to compare your reality with what is projected from these schools.

Finally, I am excited about the art work you are doing for the final.

Craft in America, pages 7-140

I can not believe we are almost done. I feel like we are just beginning to know each other well enough to have long conversation filled with observations and revelations over coffee. Thank you all for taking the time not only to read this wonderful book, but to also allow yourselves time to wonder and dream and ponder the information. And of course for trusting each other to tell your stories.

We are going to change things up a bit. If Makers  is our historical reference  and timeline which gives us a context for all these craft movements, then Craft in America is our spiritual and philosophical guide. This gentle book gives us a personal look into the lives of working crafts people and their everyday life. If you watch the DVD (which is perfectly fine) the voices and accents and speech patterns brings it to life even more. No longer are we reading about names, we are now introduced to neighbors. So with that thought and  your final project in mind I am going to ask you to simply write short essays on each section. I will propose the theme or question based on the readings for that week. Write from the heart. I am less interested in documentation or defenses of your ideas than I am in your willingness  to share your philosophies .

Part I, Communities of Culture
Think about one handmade object in your home. It can be the same object you have maybe spoken of before or it can be something new. Tell us the story of that object. Describe it, how it was made, by whom, when and where. How did you come to own it. What do feel when you are around this object. What meaning it has for you. Why is it important to you. In other words make us fall in love with this object of your heart.  300-500 words. I do not count  words I am  just giving you a general framework. Think more than a paragraph or two. Be poetic. Be romantic. Be a storyteller.

Part One, not Chapter one

Thanks to Brea for noticing I had put down chapter One instead of Part One for the assignment in two weeks...I also had not counted correctly and had us stopping at Chapter 10 for Makers.

This is what happens when two faculty do the work of four. My apologies.

Chapter 11

I do not know how I miss counted the chapters but somehow I did. So lets put the Introduction and Chapter One of"Craft in America" together after this final chapter in "Makers".

For this chapter I would like for you to consider the price of success. How you would or would not be committed to a singular look/style. Being afraid to change or experiment. The actual work needed to run a business, not to mention the number of people you would have to hire to help with the production/promotion. So, again what is the cost of success and how are we trained to handle this possibility.

The impact of the demise of the NAE was felt in Texas when our art's budget was cut and decisions had to be made if they would support the big museums with big visitor numbers or the small museums that would have a huge influence through out the state. What do you think? If you had $500,000 to give out would you divide it ($250,000 each) to a Dallas/Ft Wroth and a Houston based museum because of its population and conventions or would you give $50,000 to 10 regional museums for show that are bring the arts to these areas?

And finally, I love the framwork Thomas McEvilley (p.449) sets up:
1. Matissean, or pleasing
2. Transending/metaphysical
3. Duchampian or critical

What a wonderful way to organize a general intent for art making.
I would like to add to the list,
4. Hickeyism or the intellectual

Using these 4 basic approaches, where would you put yourself and why?

Wonderful Book on Textiles

OK, for all of you that love textiles and even for those of you that don't really care for textiles you have to see this book. Textiles, by Mary Schoeser. A two inch thick book filled with images that push all borders while respecting history and process.
The best book on textiles/art I have seen , ever.

Chapter 10

Well, we are almost done with our first book.  So much beautiful information.

 This chapter brings up the issue of privilege. I refer to the necessity of good photographs, which in turn means cameras, lights, cost of slides and access to where and when to mail the images. Think about it...if you live on a reservation or in an inner city. You may make great art but how to let others know about it?  Maybe you (they) don't even want to be discovered or famous. Maybe they (you, me) believe that the making is a spiritual journey that needs no validation.This question still haunts us today. Who has a web site? Who uses the internet to show off their work?
Who photographs your work?  Or maybe you are where I am...I sit in my little room called a studio and do my work. The photos are OK but no where near good. I enter about 10 shows a years and get in 1 at the most. But I keep making art, curate shows with friends and read lots of books on lots of subjects that inform my work.

Another question I ask all the time and will continue to ask is how do you learn? Do you need rules? Do you need freedom? How much of your knowledge is self taught ( and yes I know in reality we are all self taught because we do the work) but how much to you take on for yourself? How many mistakes to allow before you give up and go on?

Finally, why do you think craft began a so called "decline"?