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?
Future, Do you mean Part 1 or just chapter 1 for Craft in America?
ReplyDeleteChapter 11: Mastery as Meaning
ReplyDeleteGlass
Dorothy Hafner experience' in glass is a lot like what I experienced in glassblowing in junction Texas. I noticed that when you work with different colors and the clear that the elastic texture changes. Therefore it has different effects. "The challenges unequal expansion of different colors and the need for their blown bubbles circumference to precisely match the dimensions" is a good description of what happens (p.449).
Ginny Ruffner Was surprising to me because I was impressed with her lamp work. I was interested in the commission work for Absolut vodka so I looked up an example from Google And found all the artistic Absolut vodka advertisements. I enjoy when advertisements are artistic themes. By looking at the rest of her work I noticed the organic feeling from her metalwork and glass. I can tell she gets her inspirations from her "home and garden to deal with ideas of creativity ,beauty, and love" (p.450). My favorite quote so far in this chapter is by her. "Pencils stand for art, wings for transcendence, Hearts for feeling, tornadoes for creativity, fruit for bounty, webs for interconnectedness, and the old masters for inspiration"(p.450). I get such a vivid image in my mind when I read this quote.
Another glass artist that I was impressed with was Daniel Clayman for his work with organic shapes and his experimentation. I thought it was interesting that he cast his glass sculptures. When I was in Junction, I experimented with different ways to cast glass. However, my success was not as great as Clayman's. He also inspires me with mixing metal and glass together in artwork. This is something I plan on experimenting the summer and I have questions about the process. How does he attach the metal in his pieces? Does he fuse the work together? Does he work hot and let it melt into the sculpture? It was also a surprise to learn that his pieces are "an Interpretation" that "they express his protective concern as a father" (p.454). After looking at the rest of his pieces off the Internet, I have come to the conclusion that he always has metal in casing the glass like a protective shield. Since the glass is translucent and the metal is very solid, the metal acts like an exoskeleton to the glass.
Dan Clayman still teaches around the US. I think he is teaching at BECON in Portland in May. Look up Andy Brott's work on the web. He's in New Orleans and does very cool glass and metal combo work.
DeleteRuffners quote was one of my favorites as well. It made me happy to see that even though one looks for difference between her works before and after her accident, that the spirit and energy is the same. I was really inspired and motivated by that story.
DeleteJewelry
ReplyDeleteI was impressed to learn that Ford and Forlano used polymer clay and made it work. In my experiences with polymer clay, the output piece does not look as professional as theirs. I think it is because they use colors that are either natural colors or metal looking. The clay has a appearance of being metal. I enjoy the texture and patterns on the work "Brown Big Bead Necklace". Their work inspires me to try polymer clay in my jewelry making or other work as well.
I never thought about jewelry in the expression of beauty referred on page 458. "Jewelry works two ways: outward toward the people in the room and inward toward the wearer. " The jewelers "believe that beauty has transformative power and can make women feel different about themselves". This feminist statement can be very true. When I put on jewelry on a night that I get all dressed up, the jewelry completes the outfit and the confidence while wearing it. It's about a feeling when you make yourself up and put on that jewelry that shines or is unique for the viewers to notice. On that note of being feminist I enjoy Sharon Church's work. She explains " the jewelry can act as a kind of psychological armor because of woman feels beautiful also feel strong"(p.458). While looking at her work I noticed her work is very strong and defiant by the choice of colors and shapes uses. I enjoy the contrast between the metal and the leather she uses. However, I do not think of "implications of bondage and captivity" when I refer to leather ( p.458). Unless the leather was acting like a choker then maybe I would think of captivity.
Susan Rezac is interesting to me because she take something that appears broken and reuses it to make her artwork. I really enjoy artist to reuse something from the past in a different way to look at it in a new way. For example, in Dallas they had a Arts Festival, in April,where lots of artist had stands with their work. I found an artist, Jennifer Northup, that uses old antique silverware and repurposes them into jewelry. Her website is silverspoonjewelry.com. She explains that "This unique line continues to bring the elegance of the past to our modern times." I bought a four leaf clover shaped necklace made by her design. I enjoy it because it's antique and all the jewelry I wear has an antique design.
Not sure if I would consider waring jewelry as a feminist statement..maybe feminine. For most feminist the concept of beauty had for the most part be co-oped by the male view or male opinion. That dressing up is about trying to please a man which is the opposite of what a feminist seeks to do. The feminist version would begin with work only by women and work intended to help empower the woman waring the work of art. Think amazon breast plates or arm bands. Most businesses relay upon advertising/ marketing to slowly take over any movement or shift in perception in order to sell more product.
DeleteI agree with the polymer clay looking much more professional than things I have done with it. I find it a little difficult to work with, and beads, and cut outs are about as complex as I could get. I did like that you did not have to have a kilm for it.
DeleteSculpture
ReplyDeleteWhile looking at Albert Paley's sculptures, I wonder when the sculpture become art versus a craft? The monumental metal sculpture is very interesting because of the texture and shapes that it creates. I enjoy that it appears to have a sense of controlled chaos. He would be a good artist to talk about balance and unity with our students because of the "close examination of a precise composition, balance and activ[ity] from every point of view" (p.463).
Wood
Jenna Goldberg' retro design catches my eye. It appears to be an optical illusion with all the patterns next to each other in a grid format. I enjoy the fact that it comes from an Australian and African influence.
Clifton Monteith is interesting in the fact that he take something old and makes it contemporary by adding new designs or materials.
I also really liked Jenna Goldberg. I like the pattern she created for her “Tall Cabinet”. I think the height and the pattern used together created magic. I thought it was also interesting that she gathered inspiration from ancient Roman and Islamic tile work. The two have such bold pattern traditions that it is really neat seeing them interlock together through her designs.
DeleteI was also struck by Paley's scupltures. The size was somehow a surprise to me too. I wondered by I did not feel that way about the textile installations that were very large(though inside & probably not quite as large) I did unconsciouly feel that they fit my preconceived notion of art within the craft world. Paley's shapes are good ones for students to mimic and be inspired by with paper & shaped scissors or cardboard.
Delete
ReplyDeleteClay
I like the artistic approach by Tony Marsh "which the walls are drilled with tiny holes like turn them into grills through which light and air can pass" through the pieces (p. 483). They do not appear to be made out of clay, but more like something out of metal. In making all these holes, it must take a lot of time and motivation. I agree with his philosophy that it takes a kind of concentration that equally shuts out distraction. I have noticed this when I am working on my own work. It is time for me to reflect on certain situations that I'm going through and bring me to peace.
HIs work is cool. I wonder if he was drilling into bone dry or leather hard clay? I could see wet clay gumming up the drill bit and squishing the form. I'm sure there is a learning curve to having success. But I did love the look of the light, airy perforated pieces.
DeleteWhen I looked at Tony Marsh and the piece with drilled holes, it really challeneged me to think of it as ceramics, it seems almost like jewelry as it appears so delicate.
DeleteWhen reading this chapter I could see the maturation the author was talking about. For some reason I found that a lot of the artist mentioned in this chapter all had really deep connotations to their pieces. Or maybe I just noticed it more in this chapter? I found it ironic that in the conclusion the author suggested that there was a common development along the practitioners in thinking of themselves as “artists” because I thought that throughout the chapter in referring to their connotations. That was an overall surprise I had within this chapter. Honestly, I was surprised at what had happened to the NEA. I kept thinking if this situation happened today, would nudity, human blood and references to homosexuality still be deemed? It made me sick to my stomach when I kept reading about the cuts. It is sad to think our government that once supported crafts so much came to a screeching halt. This might sounds a little ridiculous but there wasn’t color advertising until the 90’s? Seriously? When I read this I was like, what?!? There was color TV, how was there not color advertising? I know I am sounding naive, but I was born in 1986 and from 86-90, I really don’t remember anything so that statement threw me for a loop. No wonder craft had an upward trend. I couldn’t imagine trying to sell a piece of my work without color unless it was a sculptural form, even then it would still be hard. It was a pleasant surprise to read that by 2000 there were museums in America dedicated to every major craft genre. Since I basically grew up with the internet I cannot imagine the impact it had on marketing, advertising and sales. However, since we were just recently speaking of privileges, how many people could afford a computer in 1990 to be able to use the internet, since computers could range anywhere up to $3500? I know towards the middle/ end of the decade computers were cheaper but it seemed more of a luxury item back then. I couldn’t imagine a struggling artist being able to afford one. Please fill me in if I am way off.
ReplyDeleteGlass- Truthfully, all the glass artists really impressed me. I really saw inspiration within all of the artists. I am really in love with Hafners “Black Lagoon” piece. She was smart with the choices of hues she used because it seems they fed off each other and is absolutely beautiful. I also liked the emotional symbolism Ruffner used within her work. I thought it was pretty impressive that in 1989 Ginny Ruffner was “invited to make designs for the Vistosi glassworks of Murano, a rare woman in the traditionally masculine milieu of Italian glassmaking” (pp. 450). Also, the fact that she served as president of the Glass Art Society from 1990-1991. Marioni’s “Yellow Trio” was sticking to me. His works looks expensive but playful which impressed me because that is hard to accomplish. I really admire that he said, “I was more interested in perfecting something than in inventing it” (pp. 452). I was really inspired from this quote because sometimes, I do feel like certain artists try so hard at being different and conceiving new ideas when actually, a huge impact can be made at just perfecting old ones.
The NEA was cut to the bone because the arts are always a target. As artists we want people to notice us, we want to make them think twice about an issue or we want to make fun of something that has upsets us. No one really wants the whole story or to look beyond the headline.
DeleteTo answer your question, yes there was colored advertising before 1990. In newspapers, magazines, bill boards, store signs, everywhere. Yet, most artist did not take it upon themselves to advertise their work. That is the difference the internet has made.
When it comes to William Morris, I have a lot of respect for him. I actually know about him aside from his work. He actually does CrossFit (which I am an avid crossfiter) and is well known in our CrossFit community. It was actually interesting to read about him designing around Paleolithic meaning, because CrossFit actually encourages their clients to eat a “Paleo Diet”. Therefore, I saw a lot of meaning and understood his thought process when designing his Paleolithic vessels. “He did not try to make the forms realistic but regarded them as part of a ritual that respects the spirits of animals and acknowledges the reality of death that he knows as a hunter” (pp. 453). I lookup to his meanings behind his creations. I think Morris became a glass celebrity because he always had great significance behind his work and truly stood by it, and lived it, and this is the type of insinuation I strive for within my designs.
ReplyDeleteWhen it came to jewelry I wasn’t visually that inspired at first glance, but once I took time to look at the pieces I saw a lot of significance within all the designs, that did captured my inspiration. Sharon Church’s “Foliate Harness” made me feels strong and beautiful. “But her sense of beauty is more attuned to the emotional lives of women. In Church’s estimation, jewelry can act as a kind of psychological armor, because a woman who feels beautiful also feels strong” (pp. 458). This is truly how I felt when I was studying her Foliate Harness. Even though I wasn’t esthetically drawn to it at first glance, it sold me on significance and I would have bought it. This just proves to me that beauty is deeper than first appearance. Reading about Keith Lewis moved me to tears. After reading about his “Thirty-Five Dead Souls” piece, I concluded that must have taken a lot of bravery to create such an emotional piece around his desolation. Gray and her strategy for deconstruction was genius! And I LOVED the Baptismal Front! I am catholic so reading the story behind the iron quilt gave me chills!
I kind of did think the textile section was kind of boring, but Nick Cave has always inspired me. Now thinking about it, I would want some of his pieces on a performance artist in my fantasy gallery we had discussed.
With wood I was ecstatic to learn about the growth of rustic furniture because this is my esthetic. Honestly though, I wish the author would have chosen a different representation/picture for Monteith’s techniques because that picture doesn’t do that much justice I feel. If you haven’t seen his work before you should check out his home webpage. The detail is suburb! http://cliftonmonteith.com/furniture/ Every time I see his work my impressiveness improves even more.
I did see a lot of figurative imagery in ceramics during the 90’s. Reading about Marek Cecula made me say, “whoa” for how much he has done. I googled him and I really enjoyed looking at all of his work.
Within the first sentence of the chapter the author had mentioned that the 90’s lack personality, but I honestly saw a lot of personality within the meanings of the designs. I think this reasoning developed that maturation within the decade. The significance and deep insight I saw to the designs is the main thing I am taking away within this chapter. This book got me eager to see and experience and hopefully be a part of what is to come within the craft world.
I wasn't expecting to read about CrossFit exercise in conjunction with American Studio Craft! Very cool information that gives a new insight into his work in this book.
DeleteNick Cave is a very inspiring personality--his work cannot be ignored. Last year (I think) he had two major shows here in Dallas, one at UNT and one in the Nasher. Both were the first time I had really been exposed to his work. It was a great experience to hear his talking about his ideas.
I also am impressed by Nick Cave & was glad he was included.
DeleteSo jealous you got to see his work in person Emily! I would love to see one of his shows!
DeleteWhen considering the price of success, I try to think of it as moving forward instead of paying a price. I know in order to achieve success you have a good chance of ending up in debit and spending ten years in production and possibly not ending up with the design you wanted. However, with all of these “negative what if’s”, intimidation and fear of the outcome I try to realize the knowledge I will gain, the people I will meet and the experiences I will have in order to keep me moving even if I end up in crazy debit and nothing to show for. We only have one life and I rather try and fail or succeed…instead of wondering what would have happened. Also, I think this question will differ on the terms of how you view success. For me, there are a few many things I strive for. First, my main thing is to never dread what I am doing and be happy with my work. I am the type of person that if I am not motivated or happy with my work then I don’t give a 100 percent of myself because there is no incentive no matter how much I search for it. I am definitely adaptable to different types of styles and I like a wide range of styles but I feel I would be capable of more success in a style that I am excited/in love with. I actually encourage change and taking risk. That part of living on the edge keeps me focused and wanting more and the not knowing of what will happen has always excited me. Even If I fail I don’t regret it usually. I like to have control of my work but I would be entirely grateful if I had people whiling to help me. Knowing someone was there to help me with my production, even if I was paying them, would always have my sincere gratitude. However, I would hire people that understood my point of view as well because I feel that is important of course. I would always want to experiment because you never know what could come out of it. Everyone wants to be successful in their field and we all have to make money for a living, but I try not to measure my success off of money. I say try humbly, because our society relates making it in your field by the figures you make and it’s hard to keep loving what you do when you live in poverty for it. I think sometimes that is just life, but I would hope that my work actually helped someone see textiles differently or help them figure out the type of artist they are searching for or making someone’s house a home. Therefore, no matter what type of price I have to pay for my meaning of success will be worth it in the end because if one good thing comes out of twenty bad things then it is worth it to me.
ReplyDeleteWhen determining how the budget would be split between big museums or small is actually really difficult for me. I feel like more money should be given to the smaller museums that support local artists and up and coming artists because I feel like big museum are already civilized and they can have successful functions/ benefits in order to raise more money. Also, they might have big donors as well for support. But then again this is really difficult in terms of not having facts to deliberate off of. I am just determining from a general perspective.
Good work. Thank you for being honest and thoughtful.
DeleteThey are hard questions.
Success is an important part of our work--we want to feel as if our efforts were for a valued reason. However, I feel we limit success when it is defined only in monetary language. Yes, we all want to avoid debt and stay "in the black"--a very good goal indeed. :) But sometimes success comes in other forms, such as the kind of success I look for in my schools. A changing of opinion in the faculty and staff on the importance of art in the curriculum/full time art in the district. A change in how students perceive their making--how much ends up in the trash on their way out the door? A change in my community to value and fund art endeavors for children and adults.
DeleteI believe if you are pursuing your passion--whether it's a production line, educating hundreds of little people, hand crafting furniture--success will "find" you.
I'l respond first to the monetary question. I love the DFW area's amazing large museum and private gallery collections; they are an amazing resource to many, especially since a few collections (DMA, Crow Collection, design district/Dragon street galleries) have free admission to the general collections for everyone.
ReplyDeleteIf I had the funds though to give to either a large collection or to smaller collections, I would choose to fund several smaller regional museums or makers. I feel that the larger establishments have more presence (and therefore have an easier time gaining funding) and smaller gems of regional makers and collectors aren't as well known and would have a harder time getting patronage. I personally would love to travel more in our awesome state to check out these small museums and studios. Instead of that being a distant goal, I should just start finding places within reach and going on day trips/weekend trips.
Please, if any of y'all have suggestions of friends' studios to visit or small, tucked away museums--can you share them?
Well said! I agree! I'll road trip with ya!
DeleteI was actually looking into our Native Plant Society of Texas when thinking about this. It isn't exactly an "art" group, but I love the goals of the group and think that this kind of a society helps bring the issue of a daily aesthetic back into our suburban bubbles. Being able to fund a small town project in native plants or helping small historical collections/foundries/studios would be awesome.
DeleteThe site for NPSOT:
http://npsot.org/
LOL! Gail, just read my response and found it "cold!" Yes, I think a road trip is a grand idea! Doesn't it sound fun to go explore nooks and crannies of Texas (or wherever)?
DeleteWe have a small local museum called “The Kwahadi Kiva Indian Museum” here in Amarillo and it is amazing. The museum is dedicated to a late local artist named Thomas E. Mails. Some of you probably have heard of him. But the museum is amazing and they have Kwahadi dancer performance shows too. They are really good and it’s such a spiritual experience. This museum is one of my favorite in Amarillo. I love how it is dedicated to the Pueblos and the Plains too. They also have features of a collection of bronze castings from Tom Knapp. Roadtrip Please!
Deletehttp://www.kwahadi.com/museuminfo.htm
Another interesting place in Fort Worth is BRIT Bontanical Research. www.brit.org Mission is to "conserve natural heritage" They have interesting programs for adults & children.
DeleteAnswering the funding question first:
ReplyDeleteMuch of my job is monetizing creativity. I ask questions like: Who to show, How to get a fair price for all parties, How to divide a budget. How to distribute and give a good visual mix: living, dead, 3d, 2d, painting, style, educational value, audience, and then, how to market.
Funding is a question that touches on so many of these issues.
My knee jerk ideology would automatically say smaller not so well funded regional museum-perhaps without a tax base or functioning donor system.
But ultimately, knowing myself, my answer on who to fund would be not on small regional museum vs., larger metropolitan but what is the need and what are they funding?
For example, Dallas, for years, has had buildings in the National Historic Trust’s, Top 10 Most Endangered Buildings List, http://www.preservationnation.org/issues/11-most-endangered/listings.html?year=&related_state=TX#.UWqw279Xtzo, and it has taken decades to get any traction to save them-some are gone. That illustrates the need for outside funding or opinions: some things are important local donors but may not interest the population around them. So even big cities may be underfunded in areas of cultural significance.
Additionally, big or small museum we live in an era where we can right previous wrongs—in what stories we tell, how we tell them and how we treat the art and culture in relationship to the living breathing population around us.
Some bits of art or culture have been taken away by the powerful or moneyed. Funding or inadequate support is sited as an excuse to keep someone else’s valuables and culture. Could additional funding help return cultural items back to their region? But then what story would they tell?
Global Soapbox to get to my point:
For example, Elgin and the Parthenon Marbles
-Elgin asked the occupying army, the Turks, if he could make drawings of the Greek marbles on the Acropolis. Turks, as an occupying army, with no real rights to the cultural heritage of the Greeks, but agreed to the allow Elgin to only draw sculptures. Elgin, did not draw the marbles, but loaded them up and ferried –stole them—and took them to England. Still in 2013, England has refused to return them for years saying the Greeks couldn’t take care of them. With the new Parthenon Museum, the Greeks have a safe new home for their art and yet the sculptures remain in the British Museum.
(This mishandling (stealing) is not always the case, Arthur Evans, may have re constructed his Knossos complex incorrectly, but he handled the culture and the people properly on Crete. He paid for the land and kept a large portion of the discoveries on site. He is beloved on the Island.)
So the tie in to funding Texas museums, think about how many dusty Native American sections in regional museums you have seen. If the funding were to help create and environment where art and artifacts could be displayed and treasures returned or finally taken out of storage, my imaginary dollars go there.
But remembering we decide how we tell our stories:
If the regional museum is going to fund a display where the only woman is sitting in a covered wagon. Only the men are working, forget it.
My dollars go to the big city and I will fund the frame repair on the Moran.
All of my examples, I have actually witnessed first hand—in cities big and small. My funding would be project specific.
Not too much.
DeleteFunding is a complex, emotional issue.I can not begin to count how many times I have been told "just go write a grant" by individuals who have no idea that 1. there are not that many grants out there anymore, the few that still exist require matching funds (hard when you begin with no funds) and 2. grants are usually two years out, meaning I have to know what I want two years from now, cutting out the sudden opportunity or exciting new show you know you can put together. Add to that, Universities have a layer and layer of administration that is required to be a part of the grant writing. Add another 6 months to the timeline. And take 10% off the top for their "percentage".
I learned a very long time ago that if you want support for a project (all the times you have to go before a board for the first approval, or second OK) you need one person on the board on your side and no one against you. Boards hate controversy. This is the tricky part, the part I hate the most. A side note, trying to get monies assigned to Junction for our visiting artist during the wood burning, my proposal was side tacked by a graduate student on the "Exhibits and Speakers" committee. He simply said the artists I had listed were not good enough and were the same old people we had before. Really. And he was in clay. Nevertheless this was all it took for the rest of the committee to go veto my proposal.
One of the wonderful changes in the last 40 years is the development of Native American Museum organized, managed and curated by Native Americans themselves. First they became trained in all the necessary arenas needed to run a good museum, second they fought and began to get their religious/personal/family items back. I love the small ones and the large ones. If you can ever can visit the Museum of Native Americans in DC (hope I have the name correct) you will see what it is like to have every aspect of a museum designed by heart and spirit and history. Even the grounds are planted in maize.
I agree boards are very tricky things--they can be afraid--afraid of making a mistake, afraid of being forgotten. I look forward to continuing this and many conversation in Junction.
DeleteI heard from my daughter a few days ago - She is freshmen at NYU Abu Dhabi. I know that as one of two students on an art board she does get to vote on exhibits which surprised me, mainly as she is a freshmen. I don't really know if the students votes count but reading your comment Future, makes me hope it doesn't. In general freshmen need to grow and get a bigger picture on what is going on. But she did get to meet Christo last month so she is loving it. Mostly she is working as a docent at the university exhibits.
DeleteI love having students on committees. Think about it. Most professor are 20+ years away from their freshman year and as such out of touch with what is popular or exciting.
DeleteMy issue is more one of not being prepared on my part. I did not have the opportunity to answer any questions, I simply sent in the forms and documents. I know better now. I need to literally be there to set the record straight instead of listening to gossip.
And there was the issue of jealousy. Junction is a success. This student is graduating without ever going, combine that with his I have the only-MFA-in-the-world attitude and you have someone who is going to bad mouth any and everything.
I can not image your daughter would be that way. From what you have shared with us about your life and adventures she would have to be the perfect person to set on a board in Abu Dhabi and be fair and respectful while being honest and visionary.
My main point was it is a tricky journey to get funded.
How cool that she met Christo! What a wonderful experience.
DeleteI think when a person loses track of what he can learn from others--when he thinks he is the final authority and his knowledge/experience is more than any one else's--that's when pride gets in the way of group work and nothing can be accomplished. Well, nothing other than that person's agenda. I know we all have worked with people like this! I hope to never be like that; I hope to always value someone else's perspective, whether it is as simple as planning a staff development session or serving on a grant approval board/on a panel of jurors for a show. But maybe I feel this way because I am a life-long learner; I approach life always looking to discover a new way, learn a new fact.
With funding it just is true that the buck stops somewhere. For artistic endeavors it is so hard to put a dollar amount on it. But someone has to do it. There are so many different ways to justify and most become very sujective. To find a formula for it reminds me of a disucssion on NPR on how dollar amounts were atributed to victims of 911 and other disasters. I realize that is a kind of weird association but often $ decision just need to be made adn with art we just hope the art & artists can be considered with a sense of future influence and inspiration. The mix and marketing of the art Lynn mentioned is a reality that I see all parts of the art world that have to dealing with from small in individual artist working to large museums, design and advertising companies.
DeleteEmily, I definitely agree with your comment for sure. I hope I am never like that either and if I am someone TELL ME please so I can take the rose colored glasses off! The thing I don’t get is why this student simply said that the (artist you had listed Future), wasn’t good enough? Who would say that anyways? Who declares who is good enough? That’s frustrating… Working with a board is extremely tricky and sometimes I feel it gets to political instead of focusing on the true meaning. At least that is my personal experience with one. Martha, I think that is really neat your daughter gets to be on the art board. I think if students are on a committee and are able to vote, I think they’re vote should be suggestive only. I think they should be able to express their reasoning’s and why but I think the overall decision should be decided by a superior. I only say this because a lot goes into decision making like this example and sometimes the well experience know what to look for and the details that go into it. I think if the 20+ younger student knows what’s in fashion more than that is where the suggestive approach comes in. I think this way the student gains knowledge as well as the teacher and both learn off each other.
DeleteAlthough, I would like to say my art would be Hickeyism or the intellectual because I am a geeky researcher. Each piece may float through all of the categories as it is being constructed. I love beauty. And like Milton’s illustration, where our life’s work is to gather the beauty, which was scattered, to the 4 winds at birth, I have both feet in Matissean.
ReplyDeleteI feel like I was so chatty about the funding, I will be brief here (although I have lots to say about the 90s and the NEA and government)
Surprised: I am surprised at how much of the 1990's shaped me: the NEA scandals, the cultural wars. I was in DC working at the Smithsonian in the 1990s. We have another dyslexia mention, I love that--
Shocked: Stoney Lamar (funny name for a sculptor): My dad and I have been studying the wood--No Looking Back. We are trying--(meaning I asked my dad to help me figure out ) how he made the sculpture by turning wood. It has shocked me at how technically it was created and we are curious.
Makes me smile: Hafner's twin influences: the great barrier reef and...paperweights. Kolodzeijski's conflated recto and verso, Agee's bad girl tiles.
Take away: Tom Joyce's Baptismal Font -seems to be so simply the essence of baptism.
I will miss my imaginary conversations with Ms. Koplos. I will take away and broadened interest in contemporary craft. Thank you so much.
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ReplyDeleteWhat surprised me in this chapter was the mention of computer-generated crafts. Times were definitely changing from what we started reading at the beginning of the book. I found so many of the jewelry pieces interesting and beautiful. Some of the works that stuck with me the most was Daniel Jocz’s and Keith Lewis. The background stories of their pieces are what made me look for more of their artwork online. Keith Lewis’s Thirty-five Dead Souls really struck me as emotional and powerful. Although each piece was designed to be work individually, Keith Lewis wore them all at the same time. I appreciate the change from creating artwork for functional use to creating works that respond to certain life events in the artist’s life. I feel that my work relates more to the latter and therefore I felt more appreciation for this latter part of the book. Although I do like to make things I can use, I feel that I draw more towards creating a work that has a background story and relates to a feeling or significant event.
ReplyDeleteI’ve been pretty committed to a particular way of painting. Maybe I have been afraid to experiment other styles or just haven’t taken the time to learn about other styles that I’ve never experimented with. I do very few realistic portraits on commission every now and then. I honestly don’t know how I would handle other people working for me or hiring them. I’ve always worked on my art by myself and wouldn’t even know how to tell other people how to promote my work. I would probably have to hire someone to do that for me.
Oh man about the museums…that is such a difficult choice. I would want to support big museums and keep them thriving as much as they have but at the same time I would want to give that money to small regional museums to help them get up to the status of those other big museums. If I had the $500,000 I would choose to give $125,000 to a big museum and divide the rest of the $375,000 to smaller venues across the state.
I think I put myself in the first approach of Matissean or pleasing. I find that I try to find a pleasing quality to my work and others that will speak to me more than finding an intellectual or critical meaning to it.
Great answer on the money. I had not even thought of that option. The question was a real one that happened in the late 1980"s. At the time I was the curator of art for the TTU museum and we sort of fell somewhere between large and small. It was hard to make the argument for our ideas when did not have the audience nor did we have the so called regional pull because we were a university. Much like Lynn, I just fought for what I believe in and the show I had dreamed of or dreamed about.
DeleteI have friends that make their living as artists... the issue they face is that they have commissions a year or two out...literally know exactly what will have to for each painting. They make a good living from their art but have little freedom. I have lots of freedom but have never made money to even cover the costs.
Rebecca--just think if the chapter went into 2000-2010! We'd see the explosion of computer driven art. I missed that by just a few years. I wish I had more interest in this part of art while in undergrad. But I really enjoy seeing how artists take computers and wrangle them into new fields of graphic design, computer animation, etc. I'll never get over my love of brush marks, finger marks, and tool marks in art, but I'm interested to see where the computers will take art.
DeleteTechnology has definitely exploded in all fields that’s for sure. Honestly though, I have done a lot of graphic design and video producing/editing and I actually take more pride in my artwork that was handmade. I don’t know why either. That is just an emotion I can’t control nor have an explanation for. I am very proud of myself and all the projects I have done with video and graphic design because it was extremely difficult to learn the programming and what not, but I still feel more proud with the artwork I have made with my actual hands.
DeleteI feel like Grad school is my second chance at exploring all the art forms I overlooked during my undergrad. I'm excited to learn more about digital art and ceramics.
DeleteIt's true, Emily and Brea. I also find myself more proud of my paintings than I do my digital work, which is very few by the way. I find myself having a harder time letting to of my paintings because I feel like I put in so much more emotion than digital work. I've done logos for school t-shirts through digital media but I somehow feel more emotionally attached to my paintings and drawings.
Chapter 11 Makers--
ReplyDeleteI found it interesting the intro the the chapter covering the 90s comments on a lack of personality, and later comments on dark/disturbing imagery. I think of the apathy that appeared in other art forms--like grunge music--and the general messy unkempt look of fashion. Perhaps the 90s were a time of cultural malaise or darkness. Definitely a contrast to the energy of the 80s, perhaps a reaction to that bright decade?
I was most impressed by Paley's sculpture in this chapter; in fact, I think I audibly gasped "yes" in reaction to his large scale, serrated edges steel sculptures. This is Albert Paley and this is steel work. Then...in the back of my mind a niggling, a hint of familiarity. And that's when I recognized his public work gracing the I-80 transition from east Omaha into Iowa. I've attached a link to the Iowa West foundation so you can see the work. The familiar forms and metal treatment practically scream "I'm by Paley!!" http://www.iowawestfoundation.org/community-transformation/iowa-west-public-art/art/albert-paley/
I wouldn't say I was surprised by the metal and glass work in this chapter, but I was glad to see the range of styles--all worked in a very mature, developed manner. The metal work particularly caught my attention; Mimlitsch-Gray's piece was wonderful! Loved the beautiful craftsmanship of Daniel Jocz's cherry pendant and was amused that no one collected the cigarette butt pieces, only the cherries. Considering how realistic his cherry pendant looks, I can only assume that the cigarette was every bit as convincing as a "real" object and would inspire strong reactions when worn ("WHAT is around your neck?!"). Keith Lewis's brooch was so poignant--just from the title in context to the description about his series of the 35 deceased friends. Although our text didn't list a death date for Lewis, I still needed to look him up online, to see if he became another statistic. I did find a personal art website for him and also his faculty website at what is now Central Washington University. There were also some good articles covering his work, that gave a more expansive view of his oeuvre.
My take away from this final chapter of Makers is how far craft evolved in America from 1900 to 2000. At the end of the book we see broad representations within each studio craft--some artisans creating streamlined, traditional works while others blur the line between sculpture and craft. Artisans are not kept in boundaries by their medium, but rather use their skills and knowledge to sometimes stretch expected boundaries--whether in imagery/symbolism/subject matter, technique, or form.
Emily, I kept thinking too how much craft has evolved from the 90’s to present. To add to what you had mention, I kept thinking about textiles. Pattern/prints have exploded within the last couple of years and the use of it within upholstery is sky rocketing right now too.
DeleteAs far as the question of which category does my work fall into: Matissean, transcendental/metaphysical, Duchampian/conceptual, or Hickeyism/intellectual I'd say I'm somewhere between conceptual and intellectual. I enjoy the layers of meaning constructed in a conceptual piece--where objects and imagery are coded and the historocity of material brings it baggage into the work. Yet I find sometimes conceptual work can be a stretch...and reaches too limited of an audience. So I think that I pull in some of the ideas that Hickey promotes/d. That meaning is individual to one viewer and one work. This idea used to make me uncomfortable--what if someone contrues meaning out of my work that I never intended or would never say?! Letting go of that control (something conceptual art clings tightly to) to let individuals find meaning in your works can be very freeing and rewarding; at the end of the day, you are achieving your goal--communicating with and causing reaction in an audience.
ReplyDeleteA summary of Hickey's stance from a 2009 Newsweek article:
"Hickey's argument, essentially, is that beauty really is in the eye of the beholder. It depends on a direct, one-to-one relationship between the viewer and the image. Once we allow meaning to figure into a work's value, we become slaves to the establishment that's in the business of "enlightening" the masses: the museums, universities, foundations and publications Hickey terms, collectively, "the therapeutic institution." He's not opposed to museums altogether, but he prefers they be privately funded—governments should deal with our wickedness, he says, paraphrasing Thomas Paine, not our pleasures." HIckey says it is alright for something to be beautiful AND meaningful--the two are not mutually exclusive. I tend to find beauty even in the garish and challenging.
I fond this quote intriguing--especially as I tend to approach every work of art as if it deserves my time and my thought, no matter who made it, where it is shown, or how it is classified (high/low/naive/crap).
"The art world is divided into those people who look at Raphael as if it's graffiti, and those who look at graffiti as if it's Raphael, and I prefer the latter."
I love that quote! See, it’s all about perspective. Everyone see things differently. The key is training your eye into seeing many perspectives. This takes a lot of soul searching for me. You have to let go of your comfort zone.
DeleteThe Final Chapter. Wow! I was, at first, intimidated by the sheer weight and size of this book, but I have to say, now that I'm finished that I really enjoyed it. Thank you for putting this in the course.
ReplyDeleteSurprises: I think what surprised me the most in this chapter is the lack of cohesion of style throughout the decade. In so many of the other chapters, the artist/craftsman/designer's all seemed to flow together in some sort of harmony. This decade seem very disparate, with each medium going in it's own direction. So many of the names were familiar. The 1990's are twenty years ago, but seem like just yesterday. I was surprised to see Harriete Estelle Berman's work mentioned here. I had no idea that she did sculptural metal work. I only knew her as a contemporary art jeweler, so it's wonderful to see she has a full and varied history. The glass stuff was really not a surprise to me because I've been living it for the last 12 years. What did surprise me were the examples of the work that were show. The examples are very far from the work many of those artists are doing now, with the exception on William Morris and Dante Marioni. On a side note, i was in a home in Portland a few years ago that had a chandelier from Dante Marioni. The chandelier was about 50 of his sinuous, gorgeous goblets that were displayed in tiers surrounding a light source. It was so unusual and exquisite. I loved how he turned functional goblets into functional lighting. It is a monument to craft/artistry at it's best.
Impressed: The work that I love the most in this chapter as Myra Mimlitsch-Gray's Sugar Bowl and Creamer metal work. I LOVE IT! It has a Warholesque (is that a word?) quality to it of taking the mundane and turning it into art! I loved the semi-subversive explanation for its meaning. Whether you consider it feminist or not is up to each of us to decide. Regardless of the implied meanings, It's a great piece. I was also impressed that some weavers began to embrace higher-tech machinery to develop their work. I think I'm really ok with that if it elevates the artist expression and lends a stronger voice to the work. I don't think using a digital controller on my kiln makes me less of an artist. It just means that the drudgery of my work can be lessened. For me, the key is to be expressive in the form and the design, and not let technology, or lack of it dictate my direction. I also liked Lissa Hunter's approach to textiles within the mixed media genre. I know mixed media is not a new concept and I wish it was touched on more in the book.
What I'm taking away from this chapter is an appreciation for the individuality of the artists profiled. Unlike so many other chapters, this group truly didn't seem to be influenced by any sweeping trends or movements. Maybe it was fatigue from the rollercoaster that was the 60's, 70's and 80's. Whatever the reasons, there seemed to be a lack of group identity. For me the 90's were focused on acquisition. Everyone seemed interested in acquiring bigger and better, and just more stuff. Quality and craftsmanship seemed to be less important than the past. More asian imports and knock-oofs seemed to enter the market and the relative value of quality handmade work was only to be determined by the financial elites. In this chapter, technique was not cheap! I really admired the quality of the work profiled.
To answer to philosophy question, I'm pretty sure I am now working in the vein of Hickeyism/intellectualism. Before starting this program, I was working as a Matissean or pleasing manner.
"To answer to philosophy question, I'm pretty sure I am now working in the vein of Hickeyism/intellectualism. Before starting this program, I was working as a Matissean or pleasing manner."
DeleteWow I think this says so much about the strength of this program!
The strength you bring to the program. The hardest thing we ask you to do is decide what you want to do. We simply suggest some books, maybe a different view or two and give lots of encouragement.
DeleteI to believe that I am working in the vein of Hickeyism/intellectualism, and sure that I moved from Duchampian or critical.
DeleteYea I think I am in the Duchampian or critical right now hoping to grow into the Hickeyism/intellectualism throughout this program. I am very critical on myself. That is my weakness I need to work on. I recognize it, or admit it now but that aspect is hard to change for me.
DeleteYour question about sacrifices and business are right on the money for me. I am living it. In order to make a living I do commissions that I don't feel like doing in designs that are a snore to me. I do this to fund the one of a kind artworks that I love to create. Luckily, those sell, but they take longer. I started teaching to earn a buck, bit also luckily, found that I love it. I also sell equipment and supplies in a store front and online to make a living. I've become accustomed to having multiple art-related revenue streams that allow me to purse the avenues that I choose. I've found that for every gift, there is a sacrifice to me made.
ReplyDeleteMany days I am frustrated and depressed that I have to create work that either 1) no longer challenges me, or 2) totally disinterests me, but I have made that "deal with the devil" to give me the freedom to stay in the arts, teach, go to school, and do the work that I love.
As far as the business side goes, it's choking! The accounting, inventory, marketing, vendor relations, client correspondence, materials management, student recruitment, studio equipment upkeep, and scheduling are enough to put you in the grave! Strangely, I happily do it because it sure does beat working for someone else! Doing all this juggling allows me to go to Junction for 6 weeks, and be there when my child needs me. Again... trade-offs!
Thank you for sharing what I know is just a little bit of the whole story of working at art. I always tell people art is the habit I have to feed.
DeleteGail, I was talking with my friend Pat about this very thing over spring break. He runs a bronze foundry in Alaska and finds himself primarily creating things that do not challenge him creatively. However, he makes a decent, comfortable living doing these "bread and butter" commissions and public works. I'm not at that point--frankly I chose education for two reasons 1) I love interacting with people and would go crazy without an audience and 2) I needed the financial stability of teaching. My tradeoff is I still don't get to create the work I want to create, because I'm either exhausted physically/mentally/spiritually from the grind of my audience or I don't have the chronological hours in which to make.
DeleteSo until creating art is valued as much as practicing law or crunching numbers, artists will always have to balance their making and their earning. :)
I'm very impressed at your business sense and how you struck out to do this. I lack that gumption. Or maybe if I discover I have it...we'll see.
Gail, my dad owns his own business and says he rather do all the heart ache then work for someone else too. He tells me that all the time. He is successful though and I think it is because he sincerely loves what he does and that shows and clients feel that energy.
DeleteThomas McEviley framework is neat. Hard to put myself in one but maybe Duchampian or Critical at one end and Matisseean or pleasing at the other.
ReplyDeleteMy personal feeling about funding is to help smaller museums that are working so hard to enrich people who live far from the larger museums like the DMA as they usually need help. I would also include galleries in the areas that might need funding to exisit in the smaller areas that are less populated. Museums like the DMA have needs as well But… have so many that help and want to be seen helping. Many young people in rural areas just don’t realize what is in their own back yard unless the local historical society or civic group (and schools) are there to help. Not to mention how great it is when art comes to visit. But I really like what Lynn said about funding going where the most help is needed. So many areas of need are not popular or politically correct.
Chapter 11
One of many artists that I really enjoyed reading about was Harriete Estel Berman and how she dealt with her “frustrations and conflicting goals” as a house wife, mother, and woman in various pieces. The “hourglass figure”, Family of Appliances and EVerready Working Woman, http://www.harriete-estel-berman.info/artist_sculpture.html What fun and what great commentary. Her use of everyday materials and commentary on life, materialism and those working at home is great. It is great to google her and see some of her current projects such as Bell curve which as a teacher I appreciated. Not real current 2011 but I still liked it http://www.harriete-estel-berman.info/sculpt/pencilPage.html.
I loved the story about Tom Joyce working on the Baptismal font and incorporating donated iron to create the font and incorporating it into the “flawed” granite. The was such a beautiful collaboration especially for a church. Somehow it reminded me of my mother’s stories of collecting iron for the war effort. She crawled (with friends) under old houses to pull out old bed springs and looked in many vacant lots in Fort Worth to find any thing else they could find for the war effort. She said later she heard that it was just a way of encouraging Americans to be involved and feel they were helping the boys fighting. She said at first she was angry but then said – it sure worked. I need to research this and find the true story.
I was surprised by the Jacquard loom and computer and use by Lia Cook and want to see more of what artists are doing with it. http://cehs15.unl.edu/cms/index-arc.php?s=9&p=72&y=2009#22
I was glad Nick Cave was included. I like the discussion on the emphasis on transformation from street clothes to his performance costumes.
All areas seems to included some deep levels of commitment by the artists, sometimes in humor or social justice but always with such skill and personal commitment. I think of Ann Agee and the time she spent at Kohler and documenting workers, Tony Marsh and the perforated vessels and Daisy Youngblood. The stain glass by Judith Schlechter and jewelry by Keith Lewis depicting situations one does not often choose to view. Not art I would want to live with but glad of the passion that created it and makes us hopefully uncomfortable enough to take a stand or help. This chapter was encouraging to me and exciting to be able to follow the artists after reading about them and then to see them still doing their work.
I was intrigued by the computerized Jacquard loom as well. I wondered how difficult it would be to program in your pattern/thread colors, and if all that planning on the computer makes the overall process easier than "old school" weaving. As far as computers in other fields--like computerized plasma cutting devices--I tend to not like the end product. Of course I prefer a very "organic" aesthetic, one in which I can see the hand/tool marks. Perhaps though weaving is different?
DeleteEmily, during my undergrad it was require we take an advance CAD/CAM class to build our own patterns, prints and everything and actually it was quite easy for me and I caught on very quickly. I am a tech guru though. And the process did cut the preparation time in half or more. However, some of the girls that had been weaving throughout their childhood or had their grandparents teach them when they were young preferred to do it the old school way. I didn’t know how to do it when I started the program so the computerized way helped me a lot. It helped me understand the reasoning quicker instead of trial and error with my hands.
DeleteHow interesting that you mentioned some people chose to do it "the old school way". In the future our computers we have now will be old school and who know what we'll have to create artwork. Art along with technology is quickly evolving.
DeleteTHat is really interesting Brea. I haven't ever taken a course specifically for weaving, so I wonder how I would approach it? Yes, Rebeca, the way our technology changes, we'll soon be doing things the "old school way"! I kinda like that though--I still prefer the smelly, messy, toxic old ways of printmaking to newer, nontoxic, water soluble methods. Not sure why...but i do.
DeleteThe final question of museum funding is complicated. Here's my take on this ugly subject. I personally have an aversion to bureaucracy! I can't stomach red tape, and I abhor self-important boards who believe they know what's right in every situation. So, I would give the money to several smaller museums with the caveat that they produce shows and educational programming that engage the public with the arts. i'd avoid the white walled, non-interactive spots with miss-mashed collections of everything. I'm in love with the idea or arts mentoring so I'd love to see them do something with that. The whole NEA thing is an embarrassment. I'll keep my politics out of this, but there more funding today for crazier things than art!
ReplyDeleteThe real issue with the NEA cuts was no one asked the curators why they picked the works they picked or what were they trying to say/prove. Most curators are wonderful and visionary.Some are ego driven and live for controversy. Add the politician who wants a quick headline that will take the focus off budgets/health care/ education and you have the perfect storm.
DeleteTrue enough--I think that we (art educators) are the best advocates for the arts. I don't want to say I'm always proselytizing everyone I meet about how they need to suddenly value art above all else--but I always remember that I'm representing arts education and artists in general. What I say about my job, my students, my studio discipline plays a part in how other people perceive my job, my students, my studio discipline.
DeleteI tend to believe that local is the way to go--you have a greater impact to effect change by participating in your local governments, clubs/groups, and schools. You may feel as if you are beating a dead horse (as I feel today), but change isn't always overnight. Keep at it!
I like your reasoning Gail. Sounds like a good plan to me!
DeleteFor the sacrifice one is willing or unaware of giving for art. .. I think art is often something you just need to do. And if you don't it will eat at you. I know this sounds corny, but being as they say true to yourself even if it makes bills more difficult to pay is important. I think when I have used family or just excuses for not making art or giving all I need to it is just that. Unfortunately it hurts you and your family more if you are not living your life as fully as you can. There should always be part of your life you are in control of and the most important part of that is what you do, art, gardening, reading. I do think in many ways we become what we do, and it is a scary place to be if you aren't doing something or trying something you want to do and are proud of. The price of success as far as art goes I see success in some ways as that gallery show, But truly just being able to feel good about the process and hopefully the finished piece would be success.
ReplyDeleteMartha, how true. As creative people we cannot ignore that part of us that needs to express to resolve an issue, relax our mind/body, or maintain a balance in our personality. I've found that when I give myself no artistic outlet at all--no drawing/painting/sculpting, no gardening, no singing, no writing/story telling--I become very grumpy and difficult to deal with. I need that part of me creating in order to handle all the stress of my job and adult responsibilities.
DeleteThat is sooo true. Man if something is eating at me I literally can’t focus on anything expect that one thought until I start to do something about it. Emily, I am like that too in the sense of art reflecting my personality. I get depressed if I don’t do anything creative for a long period of time.
DeleteThis past week went by so fast! I have been in California all week visiting California State in Fullerton, and the Grand Central Arts Center in Santa Anna. I recently was accepted to the MFA program. In the midst of all my excitement I completely forgot about posting. So I would like to apologize to everyone for my lack of input this week.
ReplyDeleteFirst, I like this question about the price of success. I feel like from a young age there is this stereotypical assesment that all artist are starving and just make enough money to get by. Sadly this is the truth in some cases. I accepted, or more so just came to terms with it, shortly after I began college. I do what I love. My passion is to create and I have been happy and have felt successful with myself thus far. I hope one day to be able to produce work on a large scale and money will be a factor. The saying "it takes money to make money" keeps coming to mind for some reason, but I know that that is not always true. My uncle worked in a studio with 3 other artist in Austin for several years. They did their production together. Helping each other to produce others designs. They had a tight knit community and everyone helped the other to succeed as mush as possible. Success to me is defined personally and cannot be determined by someone else.
I think I would have to have people working that also enjoy what I am doing as well as themselves. Hiring and paying someone that ultimately doesn't care for the art would not be someone I want to work with/ have working for me.
Funding galleries is a different story. I do not know a whole lot about curating or what funding it takes to run a gallery. But based off the question, I would have to divide the funds between smaller galleries. The larger ones that are established will always have a larger population to sustain them. They are usually in larger cities too. But I feel like we need to "spread the word"! How are smaller cities supposed to grow and appreciate fine art and craft without the opportunity, Cities such as Lubbock that have roots planted but still need to grow are what im thinking about I guess. Like I said Im unsure of the expense to run a gallery but 500,000 seems like it could support the significant expansion in at least four or five cities. It would have to be enough to keep the ball rolling (as opposed to doing 10 cities and them not go anywhere or close after a short period)
For a minute think about the cost of all the equipment you use while at TTU. To continue to do your work you will need that equipment or to pay for time with that equipment. My question is based on the reality of the total picture of what it takes to keep making art that sell and sustains your work. Ask your uncle what his cost are...his sales..his backlog of work. I feel one of the short comings of grad school in the arts is we are very unrealistic about how to keep doing art. Or how to sell your art (ie price it correctly) how to get a gallery or manager.
DeleteAs for galleries..galleries are for profit so they make decisions based on what sells. Period. Museums are not of profit and relay upon grants/gifts
Art is a hard passion to maintain.
I've been struggling with this very conundrum here at my place--I want to have the tools I need to create my work. I've found I can't balance taking night sculpture classes at the community college while teaching 40-50-60 hr weeks at my schools. But just looking at the basic tools I need to create fabricated steel pieces--a welder, air compressor, air tools, better angle grinder, plasma torch, etc--will cost a pretty penny, even if I find them used!! Not to mention all the maintenance of the tools falls onto me, and I'm not the best at patiently problem solving machinery. Perhaps banding together with other artists to defray the cost?
DeleteOne thing I've noticed is that our current state of affairs in "my" generation (25-35) has us bucking against mass-produced and gravitating towards the hand made. Yet, many still want the hand-made, unique artisanal pieces at the mass produced price. That shows either a disregard or an ignorance for an artists cost of production.
I agree, Stephen, that we need to "spread the word," and I view that as education, both in formal and informal settings. Change your neighbors' opinions of the value of art by how you demonstrate your creativity in your daily life, participate in arts groups or clubs in your city, instruct art to students--whether young or old.
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DeleteI will try this again. When I think of friends comments about the high cost of differnt arts or crafts. I see how Maybe they would have bought some mugs or plates but they were so expensive, it seems to be tied into the idea of quanity. They realized they can get a set of dishes at Kohls or Walmart for $40. with eight plates. But buying handmade may be 6 times that. I said to one friend do you need 8 plates. How many do you use. I think we get caught up and confused with quanity being = to quality and sometimes see more as better. I do this with books hands down.
DeleteMartha that is so true. There are so many plates in this world, why not have something special. My problem is, if I have something special I am too scared to use it.
DeleteRight now in my life, I am at the point to where I need all these tools at home and I am slowly collecting because I can’t afford most of them. At the rate I am going, it’s gonna take me 30years to acquire what I need/want. I wish our culture did a shower for “starting your career” in relation to a bridal shower for when you get married. I honestly would trade in all of my cooking utensils for tools…
Emily, I find myself in the same place too. Being a teacher takes up a lot of time in and out of the classroom. I'm embarrassed to say I haven't worked on my artwork in a couple of years. Most of the artwork I do is small projects I use as examples for my students.
DeleteRebeca, one thing I am looking forward to about this summer is I'll have my hands in "real" clay for the first time in 5 years! Of course, as a teacher I have my hands in clay from January until April! But it's small scale projects--usually of a silly nature to capture the kids creativity in clay. I'll be glad for the time to work seriously in clay.
DeleteWhat surprised me were Dorothy Gill Barnes basketry sculptures. Her baskets are not traditional by any means. She collects natural materials to make her baskets from around the area in which she lives. Most of the materials include pine, mulberry, buckthorn, cedar. What’s really interesting is how she carves designs in the bark and harvests it in two years. The scar tissue forms ad greats marks she calls “denroglyphs”. She also wraps branches with thread or twine to leave fine lines as the tree grows. She then takes these items and fashions bag type sculptures from all the items she has collected or created with bark. She has even made wall hangings of considerable size. This reminds me of things I would make as a child with items I had collected from nature. Little did I know that it was considered real art, not just pretend.
ReplyDeleteOf all the different types of craftsman in this chapter, I was most surprised by the sculpture section. Everything else was rather mundane, as stated in the first part of the chapter. Harriete Estel Berman was one of the artists that surprised me, for she focused on making sculptures and her feminist approach to her sculptures. In order to deal with her frustrations of being a wife and mother decided to created sculptures that reflected this. Her work the Hourglass Figure: The Scale of Torture is a bathroom scale decorated with slim fast cans with sharp edges sticking up. It represents a woman’s life filled with the paint of constantly dieting, to conform to societal views of how thin women should be. This sculpture really hit home for me, for there is not one woman that I know of who is always concerned about their weight, for dieting consumes my thoughts on a daily basis.
The biggest surprise was the use of fimo beads, and that it was considered art. I know that I had asked the question in one of our older blogs about what other materials from a hobby store would be considered art, and my question was answered, fimo beads. The other thing that surprised me about this polyvinyl material is that it has been around since 1930. Fimo beads are fun to make, and buy, for most hobbyists have used these beads at one time or another, including myself.
The next thing to surprise me is wood turning as a sculpture. The work of Stoney Lamar, No Looking Back, is a freestanding sculpture carved on a lathe. He had started using multiple-axis turning on the lathe the forms are always round in section and always symmetrical, but the further the second axis differs from the first, the more irregular the shape. When you look at this piece it shows no signs of being turned on a lathe, it looks as if it were cared by hand. The design is very simple, and pure in form.
What impressed me was how the prices for crafts had continued to rise. Advertising played a major role in helping to develop the market for crafts. Color photos, and galleries with extensive client lists helped as well. Websites became a large factor in the sale of crafts. The Guild.com set up a website for craftspeople to sell direct to the client, and taking a service fee for the website costs. The internet is amazing; one doesn’t even have to leave their home to go shopping, and to find out about almost any artists. I looked up several artists this summer, and noticed that on their websites they not only have their crafts, but their bio, and resume.
ReplyDeleteWhat impressed me the most was the work done by Tom Joyce. He believed that “ironworking was shaped by his understanding of iron as a repository of memory.” (p463) He wanted to used his work to help the community; a community art project. Joyce believes in the virtue of recycling metal, and that metal holds a memory of how it was constructed. Joyce was commissioned to build a baptismal at Santa Maria de la Paz Catholic Church, in Santa Fe New Mexico. To make the baptismal a collaboration with the entire parish, each bringing in bits of metal to be forged into the baptismal. The forged metal would then hold the memories of those who donated it. Joyce also worked with the communities youth in helping them to learn the trade of blacksmithing. To me a true artists is not only someone who can do art, but one that shares their art with the community. One of my long term goals is develop a community arts based program in the town in which I live.
What am I taking away with me is that art is not only functional, but sculptural as well, that it can be used for the good of a community, and that it is ever changing.
Prices were impressive. I found it interesting how in some situations the prices were helped up by the galleries or curators controlling the flow of the art or purchsing pieces to help the artists.
DeleteTo me a true artists is not only someone who can do art, but one that shares their art with the community.
DeleteI couldn’t agree with you more Debbie. I think this is one of our purposes for life too. I also loved Joyce for this and watching a video of his baptismal coming together was so moving. It brought tears to my eyes. The whole meaning behind it was so beautiful.