What an exciting chapter. It is as if all the areas grew up at the same time. Consider the juxtaposition of Smithson's spiral getty, the killings at Kent State, and the Foxfire books. New directions and new realities.
Some observations...if you are ever in Wisconsin visit the Kohler Museum. It is an amazing space that still houses works from their artist in residence program. The bathrooms alone are worth the trip and admission. Check it out online. Not as good as in person, but too cool for words.
I admire Ken Price and how he was able to know and accept the time to change/to move in another direction. And how clay suddenly seemed to add words, painting, decals and almost anything else. A continuing exploration of what could be waiting outside of the box or studio. If you would like to see some art that is close in nature and closer in distance look up Melissa Zink, from Santa Fe. She recently passed but there are still galleries handling her work..
Wow for metals...it is like they matured overnight. I know this is a simple statement but it is how powerful I reacted to the new works And textiles. Amazing works. If you are interested in shibori (or the use of small knotted bundles during dying) look for the book " Kimono as Art: The Landscapes of Itchiku Kubota". One of my all time favorite art books. When I am in need of inspiration this is the book I re-visit. My dream book.
Glass and Chihuly and Philchuck....what more can you ask for, I know that much of the description could and does apply to Junction. I am even prouder of what the glass folks have done over the years than before.
Of all the forms wood seems to finally begin to find it's way. Just beautiful work.
Now for the continued question from last week.
Curate a show with YOU in the show. Talk about the theme, the location, the other artists and what you would want the public come away with after viewing the show. Dream big. Money is no object.
Really.
I really enjoyed reading this chapter because I not only learned a lot about craft in the 70’s but I also learned a lot about the decade in general. I soon realized that the 70’s was indeed a decade of amalgamation. This surprised me. I expected the 70’s to be an extended expression of the 60’s. I really saw artist taking a stand and figuring out what they wanted by exploring new techniques. What also surprised me was noticing the downfall with political issues relating to Watergate, Kent and the hostage crisis along with others, but with craft, there was inspiration developing. I felt like the people were suffering (have been suffering) from so many political aspect that they started fighting harder in terms of representing who they are, in this case, I saw that through the works of craft. I really admire Ken Price; it was a quote of his that made me realize how the political condition really reflected on the artist of the 1970’s. “I did what we did in Vietnam at the end—I called it a victory and got the hell out” (pp. 314). Another artist along with many other in this chapter, showed me they were speaking out towards social and political issues through their work was Gerry Williams, and his “Political Constructions series”. I really thought that was a clever and artistic way to speak out on the popular issues happening during that time period. It was also a surprise to me to see John Mason moving on to new mediums opposed to what he did in the 50’s and 60’s. I thought there was bravery in his work in relation to his “Hudson River Series II”. I looked up to the fact that he, “he embarked on a project of a magnitude unimagined in the craft field”, (pp. 314).
ReplyDeleteI LOVE Patti Warashina. I was excited to see her personal work in this chapter. I feel like her piece titled, “Love It Or Leave It” is symbolic to all of her works and the feministic approach she created for them. In my own words, “if you don’t like it honey…then leave it”! Every time I see a piece of her work, I find myself saying, “Amen Sista”! She makes me feel powerful as a woman. I was also inspired and impressed my Mary Frank and her sculptors. Her work gives me a searching emotional feeling. I saw true meaning in her sculptors and this quote really spoke to me. “Woman as a figure of passion and compassion, dance and motion as indicators of emotional state, the coming together of plant, animal and human life, and the influence of dreams and visions on our conscious lives”, (pp. 328-329). I feel like she really captured the meaning of a woman.
When reading about metal and jewelry I was really surprised and impressed. I love Paley’s jewelry and the design that went into it. I love all the materials that went into his pendant (figure 9.26). It is big but I would certainly wear this statement piece. I believe Mary Scherr was a genius and way way ahead of her time. It really inspired me that she cared enough about craft to make her heat-pulse sensor look like a fashionable cuff bracelet. Another artist that I loved was June Schwarcz. Her Plique-a-Jour Vessel was breathtaking. I loved that she created a fabric manipulation within her design while using enamel as well. There is so much texture and richness that my eye is esthetically pleased for sure. I just want to feel and rub my hands all over the vessel. This quote says exactly how I feel about this piece. “Schwarcz’s sense of beauty is very much of the modern world: gritty, sometimes harsh. She rejects prettiness, although she never seeks to overwhelm” (pp. 341). I do think this piece is beauty of the modern world and I think the grittiness and the color make it beautiful in comparison to what we consider “pretty”.
I loved reading about Patti Warashina too. I loved her piece, "Love It or Leave It." I thought it aspired confidence and self-assurance in her own ability to be on her own and create her own type of work. Like you mentioned, her works make you feel powerful as a woman and give you an attitude of, "Yeah! I can do it!" :)
DeleteI agree with you all--it is probably my favorite piece in the chapter-I also like that her head looks like it could detach or swivel and become something else entirely
DeleteAgreed! Patti Warashina's spectacular! She's someone who has something to say and a clear point of view. She uses clay as a canvas for her content and that's where I want to go! Very inspiring!
DeleteI was surprised to see wareables mentioned in the textile section. I guess I was for sure if it was considered a craft or not. I was pleased to read that wareables gave people the idea to express “their real inner selves, their thoughts, aspirations, beliefs, or even just aspects of their daily lives” (pp. 346). I feel like you should always express yourself and that clothing is a medium to do it with. I connected with many of the artists in the textile section. I will undoubtedly be purchasing, Kimono as Art: The Landscapes of Itchiku Kubota". I have made a couple of kimonos and I won’t wear them because I do consider them art. This book seems like it will inspire me. Thanks for sharing Future.
ReplyDeletePat Oleszko caught my attention. Her works seem to reflect the, “Nightmare Before Christmas” theme to me for some reason. I really admire Westphal too. I was impressed that she included feminist revaluation in her quilting as a collage and chose to escape from normal textile traditions. Helena Hernmarck and her “Sailing” piece was, gee whiz!, moment for me. 700 hues! That is talent and passion like no other!
The main thing that I have learned and will take away with me in this chapter is not to be scared of new techniques! And that the 70’s were nothing I had expect but beyond better! I also learned that reflecting yourself through you artwork is important. That is what I mostly saw in this chapter. I like that Kington went beyond the norm and transformed blacksmithing; and how Paley and Lechtzin revived it by teaching themselves to hot-forge iron. I feel like they weren’t scared to try to new things and take risk in representing who they were as an artist and I admire that fact along with others in this chapter.
Sailing is amazing the textile equivalent to photorealism in painting.
DeleteWhen it comes to wareables, remember this was one aspect of rebellion: to re-assemble clothing, to embellish jeans, to dye tea shirts, to had feathers to think more in term of costume . Anything that was different. At the same time there were others seeking a return to a standard or to something MODERN. What is exciting about wareables is that in many ways metals and fiber began to play together.
DeleteWearables was also something that was hard for me to wrap my mind around. I think the 1970's in many ways just does not seem that long ago, and "wearables" and the influences of international travel and education on wearables today made it hard for me to realize/understand the rebellion. But I must say I did embellish jeans and passed them on to my daughters, wish they were still around. I was though very interested in the performance aspect of RUth Pelz and Pat Olezko. Her skill in creating art and performance wearables that could travel so well is just crazy neat.
DeleteI was surprised to see that too but I enjoyed it. I think this whole book has just been like a wake up call. Things that I never saw as craft are being put in front of me and makes me see them in a whole different way.
DeleteAs an artist, my dream show to curate would be a textile layout that is a colorful, whimsical, bohemian, gypsy fairytale. I don’t just want a few of my pieces in a gallery; I want to create an entire environment. I would want a space with 20-30ft ceilings, with concrete floors and two walls that are brick. I would want one wall to be completely stain glass looking out into a garden. I would hope for someone like David Ascalon or some of my artistic friends that know how to do stain glass to design the wall. I would want a plain glass ceiling to let a lot of light in and a way to see the stars at night. I imagine it being summer or late spring. I love color combined with natural organic pieces. For example, a tapestry nonloom hand-woven and knots of burlap and jute with a pop of bright neon color prints. I would have wall hangings of textiles weft into canvas creating a nonsystematic design between each fiber. I also want to design embroidered canvas hangings with portraits of dogs, with bright colors with bold dark lines representing stain glass (which incorporates with the window). I have done a series of pop art dog portrait paintings for my friends and family and I would like to do the same thing but with thread on canvas instead. I hope this is making sense because it is kind of hard to describe. I want to incorporate textiles onto canvas and I haven’t really seen that before so it is hard for me to describe it to you all. Hopefully my final will give you an idea. I would also like to have different texture and pattern tapestries hanging using chevron, ikat and screen printing prints and featuring textile artist Suzani as well. On the floor I would want rugs by Suzani and of my own incorporating the same gypsy bohemian theme. I want massive poufs and bolster pillows for floor seating. I would incorporate crystal balls for the gypsy theme. I would also like to make yarn and crochet decoupage vases with poppy flowers (the black center and bright petals relating to the stain glass window) and garden roses to add to the romantic feel. I also would like to create massive tassels ranging from 10-20inches in diameter to hang from the ceiling as a centerpiece instead of having a chandelier. I dream of having a designer like Lenore Tawney to hang woven forms throughout as well. I want the room to be a magical textile atmosphere. I would like a gallery that people come to get inspired to create things in general. I want to inspire all types of artist and the public, not just textile people. I would play Fleetwood Mac in the background and hope that people left feeling as if they were transported into Stevie Nick’s lyrics. I want all aspects of the room to be textiles except of the stain glass window and natural elements throughout like the flowers. I know this seems a bit overwhelming but gypsy have always been a little overwhelming, but in a good way. I kind of got lost in translation here so sorry for the long response.
ReplyDeleteI love it and overwhelming is OK.
DeleteYou might consider some accordian music also...and there needs to lots of food and beverage.
I love the accordion music idea! That would be perfect for the gypsy theme! I would love to serve little finger cakes and pastries with whimsical pastel colors and serve mimosas or some champagne or light spring sangria. I also thought about an idea to serve coffee and tea in hand painted tea cups to incorporate with the fantasy theme.
DeleteBrea-
DeleteI think I would and many of my friends would feel totally comfortable at your opening and might over stay our welcome. Good art and some nostalgia & food in just great. You are covering all the senses.
This was such an overwhelming chapter; in a good way of course. I just kept looking back at so many of the images in every page. My favorites were Patti Warashina’s Love It or Leave It, Albert Paley’s Pendant, Richard Mawdsley’s Medusa, Mary Ann Scherr’s Heart-Pulse Sensor Bracelet, and Frank E. Cumming III’s, “It’s About Time.” I found these pieces so breathtaking and interesting. The jewelry pieces inspired me the most because of their unique way of incorporating craft with use. For example, the one that stuck with me the most was Scherr’s Bracelet. I found it interesting that her idea to incorporate medical technology and art didn’t sell around that time. I need one of those Waist Watcher belts that will help me stop my slouching while still wearing art.
ReplyDeleteIt surprised me to see Dale Chihuly’s name mentioned in this chapter but saddened that so little was written about him. My husband and I went to the Dallas Arboretum this past summer and got to see his works displayed around the gardens. I love how his works can be displayed indoors and outdoors. Another artist that I loved reading about was Ken Cory. He must have been such a character to meet or see one of his shows. When I was reading his section, I kept thinking, “I want to meet this guy!” I loved how he incorporated satire and humor to his works. I’d like to read more about funk.
As for the show I would curate: I love the pop art period and some of my favorite artists are Andy Warhol and Jean-Michel Basquiat. I would have loved to be in a show with them. I would love to have a show in an informal space, much like a sort-of open space or not a specific gallery. Not sure if that makes a lot of sense but what I don’t want is those boring white walls on most museums or galleries. I love the rustic feel of the unpainted brick or stone walls similar to the Art House here in Austin. I want the public to take away a feeling of freedom and serenity. I want others to view the works as freedom of expression, powerful colors that give a sense of self confidence.
I remember one of my first thoughts when I saw the Chihuly glass at the Arboretum late last spring was "what will they do when it hails?" Sadly, a few weeks later we had a huge storm blow through and smash tons of the glass work. The cool part--if there can be anything neat to come out of this--is that the news stories showed how Chiluly's large outdoors works are made with forces of nature in mind; individual parts can come off and be replaced if damaged during transport or while in situ. Very smart, Mr. Chihuly! I suppose if you work in such a fragile medium, those kinds of realities are normal.
DeleteChiluly is such a smart business man. Who would have ever thought glass in a garden....with children--or in Texas with crazy weather.
DeleteI live near the Arboretum what is amazing is how all of the glass wasn't a complete devastation given the destruction just south of the lake--cars, houses, most of lakewood country club--real buildings of brick stone and mortar--and the glass was mostly intact.
Rebecca, I do not think there is enough about most of the artist but then we would be reading hundreds of books instead of just one.
DeleteI like your idea of a show especially challenging the white wall box that is found in most galleries or museum. One consideration, Basquiat would not be put into the Pop Art catogory.
I love Andy Warhol too. I understand where you are coming from with the rustic feel with the brick walls and all, because that is the same viewpoint of my esthetic. With Scherr’s bracelet, I was sad to read that her patents have expired and several companies are exploiting her ideas now. With such a remarkable craft invention, I would have hoped for the better.
DeleteThis week has been my kids spring break and we have taken a little time to enjoy south Texas. Seeing the seashell scenes which look so 1930's to me, has brought to mind, yet again, what makes craft- craft. Where is that line? Certainly, the shift in professionalism (need for vitas and artist’s statements) and the new kind of gallery representation and the continued move from functional home pieces to art in museum pieces.
ReplyDeleteArt’s new need to be photographed well- not how it feels in your hands, not is it warm or useful-changes things. This need for good photography of art is still true today.
There is so much of comment in this chapter-- from heart monitor bracelets (finally realized by Nike) to scale craft expanding borders--gates full blown by Paley.
Take away:
Japanese dying and textiles:
1) shibori
The main dye for shibori was Indigo which I love. A little history:
Indigo, the roman word from dye indicum comes from this plant)
-its actually an oxidation process-the dye starts out a yellow green color and the dye must be kept covered, airlessly oxygen-free. Once the fabric is soaked and you remove it from the dye and expose it to air--it begins to darken to the dark blue. Straight from the slave/planter culture-it's why in American culture, we sing the blues.
So wildly popular in the colonial era, England actually banned it to protect its native Woad dying industry (Robin Hood supposedly used a combination Woad and Weld to make his famous Lincoln green).
It's my favorite because its beauty, art and science combined.
2) Kimonos--Westpahl
As part of this class is re-evalutaion and how craft fits into an art historical, cultural framework and in my personal framework.
I studied with a silk painting master in Japan. He painted prized ceremonial kimonos. Until this class-I lumped that work with painting experience--but really it was craft-wearable art.
Impressed:
I actually remember Franciose Grossen’s work from my childhood. I remember it splayed on the floor. I remember wanting to roll around in it and how it looked like a giant mop to my child's mind (maybe to my adult mind as well). I have included some links:
http://arttextstyle.com/2012/12/03/looking-forwardlooking-back-francoise-grossen/
Here is an exhibition in Texas in 1970s http://books.google.com/books?id=JiwEAAAAMBAJ&pg=PA47&lpg=PA47&dq=francoise+grossen+dallas&source=bl&ots=VkAGwhRHR3&sig=73Oh0V0f5S1emEumy8U1viMD-2Y&hl=en&sa=X&ei=LWxUUamWEOjq2gWc2IDoBg&ved=0CEQQ6AEwBQ
Shocked:
I am shocked that the desconstruction of the kiln in John Mason’s work traveled to as many venues. It amuses me that one of the benefits of the exhibition is that shipping costs were low because the brick could be purchased locally and anyone could set it up.
I enjoy the poignancy of Robert Arneson’s Fragment of Western Civilization, De Staebler’s Standing Man and Frank’s Woman.
Lyn
DeleteLook up the book I mentioned on Komonos, the colors he uses are amazing..subtle changes, soft hues...too beautiful.
Lynn, I totally agree! Usually I like the avant-garde, but in this case, I just don't get the brick thing. Sometimes the emperor really doesn't have any clothes!
DeleteI would love to hear more about your time studying silk painting with a master in Japan! I did a lot of silk painting during my undergrad and our main professor at the time was from South Korea and she would tell us how she silk painted a lot growing up.
DeleteExhibition
ReplyDeleteTitle: Material
Material world, material objects, material society, material one makes things with
Penelope-like:
Entry would be the sound of the shuttle moving across the loom-
Each visitor would have to add to the weaving/tapestry by adding a bit to the weaving which would be created row by row by each visitor through out the exhibition.
Many artists are attracted to art because they love materials. We live in a material culture-planned obsolescence-built to last 7 years. What would that mean to craft.
Very baroque in my approach to most things, all senses must be engaged: swooning at sight, smell, taste, texture, sound-always with something left to experience. Last weeks concepts of music and craft would still be utilized.
As before, hands on demonstrations are necessary. Artists working: visitors learning and participating. The exhibition would play with scale from the very large to the very small and would play with transparency and light.
Wax, paint, plaster, wood, glass and clay: I have been trying to make a glass tornado (and casting glass voodoo dolls--because that’s funny). Perhaps those would be my entries.
I like the approach to "hands on" learning as well. I have been doing research with a peer on and performance/installation based piece for a gallery setting. To give you a quick insight; The idea was provoked from a critique we had in our graduate sculpture class. The topic came up of how to involve a viewer or better yet how to get the viewer involved"hands on", without being so explicit (like a sign, statement of intent, or white gloves). Its a natural or more sub-conscious reaction for people to enter a gallery and put their hands in their pockets."white walls... lights... Art..DO not TOUCH" Seems to be the reaction of most people.
DeleteThis is a 100% ok and right in many galleries and shows. BUt how do make people want to be involved? How do you allow the viewer to make the decision to interact with a piece? Is it subtle, explicit, implied?
All these questions have led to the development of a "different show". Still in progress though. We want to create an environment that is inviting yet precarious. We want to envoke a reaction, a personal hands on reaction. It is more about the beauty in the details. Every person just as usual will be engaged or not engaged by the work while strolling through the galley. It is the ones who are engaged and are more inquistive that are rewarded. Still alot of kinks being worked out but :As we perform and interact with a piece there are elements that require more than one viewer. There is a tedious nature to the subject, but inviting for the viewer to join. Their desire to interact and do so voluntarily, is what we want to do. If that makes sense.
One artist that does something similar is Marina Abramovic. She did a performance in MOMA. She has done several like it, one in the nude too. But she has two chairs: one she sits in, the other empty. The empty chair invites people to sit face to face with silent statuesque Abramovic. Their interactions vary from silent stares to very vocal and loud expressions; from hysterical laughing to somber tears. Its very powerful piece to watch.
Stephen-
DeleteI hope you let us know about the show when it evolves.
I have to start my answer to this weeks reading with a resounding snore and then a few startling awakenings. Here's are my surprised. As I am writing this I am asking myself, "Are you a negative person?", my answer is I hope not! I think that I am someone who looks at things with a critical eye, examines the historical context, and then goes on my gut. I think my issue here for me is one of expectations and disappointment. I grew up in the '70s and because my mother was an artist and a model in the 60's, I was, in a sense, indoctrinated/brainwashed to believe that the '70's were whitewashed with plastic; in the sense of design, expression, and genuineness. In some ways I agree with my indoctrination, and in others ways I'm rebelling.
ReplyDeleteSurprises: This decade brought down the curtains on many an innovators career, and that was a disappointment. I hated to see that many a career went out with a fizzle and not with a bang. I guess that's just reality. I was sad to see Voulkos go back to functional ware after his triumphant sculptural work. His later works described as, "while the results were handsome, these works show more mastery than invention." The truth for me, from this reading, is that I can now contextualize the role of craft icon better. Although I'll never reach that kind of status, I can't even imagine how difficult it is to reach the heights of someone like Voulkos, becoming known for something very impactful. And then have to live up to that work for the rest of your career. I love the line that stated, "He tried to avoid becoming an institution." I now understand why at the heights of their careers many icons have switched mediums, abandoning that which originally made them relevant. The idea of reinvention of oneself to then be challenged differently is appealing. I admired Ken Price's indulgence of the Happy Curios collection, and his subsequent moving on when he felt he could let go. I was equally disappointed with John Mason's Hudson River Series. The fact that his firebrick arrangements traveled to so many museums kid of disgusts me. The reference that using firebrick is akin to ceramic work is ridiculous to me. I work in glass and my kiln is made of firebrick. I guaranty that glass galleries and museums will not embrace my firebrick sculptures as commentary on glass work. I suppose it does what art does....evokes a response, aka.pisses some people off! Much of what was surprising in this chapter was how much of what we see today is rooted in the decade of the 70's. so many of the photos could pass for current work, even though this was over 40 years ago. I expected to see objects that were more dated. Additionally, I was surprised by how much I loved the section on wood! I admired the work done by Wendell Castle in the previous decade, but this next chapter's work just captivated me. The Illusion series of single carved blocks into realistic life size furniture pieces incorporating a still life just knocked me out. LOVE IT!!! Wow! I also was surprised how much I loved the tongue and cheek sculptural, but functional woodwork of Edward Zucca. In a decade that had lots of interesting work, some artists were really transformational.
"Much of what was surprising in this chapter was how much of what we see today is rooted in the decade of the 70's. So many of the photos could pass for current work, even though this was over 40 years ago".
DeleteI seriously had this same impression. Even though I wasn’t alive in the 70’s, I was thinking about how much of it looked current as well. Two pictures that caught my eye in realizing it was the 70’s was (figure 9.45) page 529 of Neda Al-Hilali and her bell bottoms. It made me smile. The other was Edward Zucca, Shaker Television. My parents had one similar to this and it was with me throughout my whole childhood.
" Additionally, I was surprised by how much I loved the section on wood!" I was also surprised by the wood section as well. I was very taken with the Frank E. Cummings -Clock- that combined ebony and glass with a theme I like to see "time". I remember some aspect of the 1970's was to "Be Here Now" (I think Ram Dass) and others suggesting people stop and consider this moment this time. His clock was very interesting to me and I also wish many "right-wing politicians" could take the time to read and view what is happening in the world. Art is certainly one of the great hopes to get some messages across.
DeleteHere's what impressed me! I really liked Stephen De Staebler's, Standing Man with Pregnant Woman. i'm not sure why it spoke to me, but it did! I think because it felt very genuine and real. I also really connected to Ruth Duckworth's pieces, both here larger wall pieces and the smaller, more intimate pieces. Although I'm not typically connected to textiles when I read about them, i was impressed by the broad experimentation shown in this chapter. i preferred the innovation of the 60's, but for the the breadth of styles represented, this chapter is exciting. Helena Hernmarck's Sailing pieces is a revelation of the heights of pictorial weaving. OMG! Talk about having a commitment to realism. Much or the other textile work covered could have been put under the tile of mixed-media. In my opinion, they were more of an artists statement using many materials including textile, but not limited to it. I think I prefer this mixed media approach.I especially liked Barbara Chase-Riboud's Confessions to Myself. I Like the mix of hard metals and soft wool to tell a story. Another surprise was the section on Glass. Many of the glass icons of the 70's I've had the luck to interact with, or have lose connects to, so it was really nice to see the accolades printed about them. (I've avoided going to Pilchuck because of it's reputation in the glass world as being a hot bed of "bed-hopping", dope, and expensive and non-structured, anti-education.) Unfortunately in many circles it has become a necessary badge of honor to say that you've studied at Pilchuck, but so many of my peers have shared with me that they got very little educationally from the encounter. It was "a good time." for a lot of money. Many of my students, the dilettantes, have gone and taken classes there. I know that this was not Chihuly's intention for Pilchuck. Currently, many of the instructors go there to create their own work, and the TA's who make next to nothing do the actual instruction. I was impressed with the extensive coverage of Chihuly's contributions, but the authors definitely pinpointed his commercial leanings. He deserves credit for his accomplishments, and his contributions to the pushing glass into the mainstream. He has also been widely criticized for his industrial approach to his craft. After reading this book, I now realize how hypocritical I've been for having this same viewpoint on him. Some of the very craft artist/designers that I most admire have used this same approach. Shame on me! Maybe this should be in the paragraph on surprises! Paul Marioni is a legend in the glass world. I'd never seen any of his cast pieces. Mary Shaffer's work is widely imitated and copied, and homaged by every MFA glass student. Ok enough glass commentary.
ReplyDeleteI was impressed with Gary Knox Bennett's approach to woodworking. His thumbing his nose at the established conservatives made me proud of him. I loved that he could make a joke at their expense and they didn't even get it! I love the rebels!!!
Thanks for the insight into Pilchuck--it's nice to get an honest assessment of an educational facility (eventhough I probably won't find myself studying at an exclusively glass facility anytime soon). And as for Chihuly, many of my studio profs haven't had the best opinion of him, although I find his large scale installations quite impressive! I tend to be very open-minded towards artists, extending the benefit of doubt when engaging in their work. So the fact that Chihuly hires many assistants that "actually blow the glass" and install the work, and the fact that he has galleries that sell tons of his work--is not a problem for me. I'm reminded of painters Chuck Close and Matisse who degenerative visual problems caused them to work with/through assistants; we don't value those paintings any less. Luckily for us, Chihuly chose to find ways to continue creating, even when he physically could no longer do it on his own.
DeleteGail,
DeleteThanks for the honesty. Always.
I can not imagine doing the same art work, the same way for 40+ years. Of course artist change. For many alcohol or other bad habits begin to take its nasty toll. Or divorce(s) or bad money investment...in other words life takes over. What I love about this book is that in each chapter there is something I love and something I don't get and lots of somethings that I just put aside.
And thanks for the update Pilchuck. Maybe it is the only way they can "live". Too bad they waste the time to make art.
My take away on the '70's is that of contradictions. There seemed to be a clear divide among craft artists during this time. There were purists who believed in the conventions of the craft and it's truths, and there were the rebels, the political commentators, and the instigators.
ReplyDeleteI personally am learning to appreciate ceramics and wood much more then I have in the past. I'm also realizing that my personal biases have shaped my opinions, not necessarily the facts. So, I'm going to change that an keep more of an open mind.
I'm aslo taking away an appreciation of the decade that solidified how I make my living. My studio hosts 7-10 international craft artists per year. These artists conduct workshops with students who fly in from around the country to study with them. The studio also conducts year round workshops in various craft mediums from beginner level to advanced. This is the joy of my job, and I love it. I'm grateful that I get to do it, and I have met some of the most wonderful, inspiring, and exciting artists of the last 30 years. My take away is that I wish I could do it all! I wish I had more time to host even more workshops, but also do more of my own work and experiment. I haven't found a way to balance these wants .....yet!
I have always told you, you have the job I dream of!
DeleteDoes your school have catalogs or handouts from the visiting artists? I would love to purchase some for our library in visual studies.
You must have met some amazing people! Do you keep up with any of those that have studied with you?
DeleteThat does sound like a dream job for sure. I couldn’t imagine having the opportunity to be able to work with such a diverse range of artists. That is really awe-inspiring Gail!
DeleteMy dream exhibition, in which my work would be included, would be that on content and not material. I'd house it right next door to Lynn's exhibit, so we'd have a good balance!
ReplyDeleteFor years I've been very caught up in the silo of materials. I teach material techniques in glass and metals and the two have always been so separate. Until I entered this program, I was very focused on the technical and less on the content. Now, almost halfway into the program, I'm much more focused on what I want to say, than on which material I'll use to say it. I feel so much more free now to explore the issues I want and to be less tethered to my material. (Does that mean I'm transforming from a designer-craftsman to a craft artist?) So with all of that said, the crafts folks who are really interesting me right now are those using traditionally craft linked materials in content driven expressions.
Since my soapbox is women's issues, I'd invite artists from all craft mediums to participate in a show entitled, "Women's Fights/Women's Rights!" I'd invite Gloria Steinem, Jean Kilbourne, and Julie Zellinger, who represent 3 generations of feminist leadership to be the jury. I'd then ask 3 craft artists who correspond to those 3 generations to be the first round selection committee so the work would be screen for technical excellence. My choices for that role would be; Judy Chicago, Susan Taylor Glasgow, and Kate Mckinnon.
All craft artists would be invited regardless of gender. Of course the show would be so successful that it traveled all over the world. I would then force all the right-wing politicians to view it, just because they need some shaking up!
As long as we're dreaming, there should be a catalog published that is so faccinating it becomes a textbook.
Great ideas!
DeleteI think you may becoming more interested in content because you have successfully learned the technical skills. And maybe, just maybe because our classes and our program in general are always asking you to use "I" language.
I think that the program has provoked me to think about why I am doing my art, why students do art, and how to communicate through art. In addition, the benefits of doing art with a purpose; to educate, inform, evoke change, etc. My undergrad touched on these issues, but technique, control, and design were the basis for everything assigned. Since I teach technique, my focus was up my own #*@* for a long time. This program is prodding me to look outside of the technical and into my spirit. I can't wait for Junction!!!!
DeleteChapter 9 Response:
ReplyDeleteIs it me or are the chapters getting longer?! They are literally packed with information--a wonderful problem to face. :)
I was struck by several thoughts while reading this chapter; first it stood out to me again about an artist living life so fully that death found them in the midst of their work. The author mentions that Voulkos was in the midst of a two-week workshop with friends when he passed away. I had previously noted that same thing about Henry Varnum Poor, who passed away with "his kiln ready to be fired." I love that age doesn't slow these artists down; the commitment to their craft carries them all the way to the end. I hope to find myself in that same situation as I near my end.
I was struck by John Glick's willingness to share from his knowledge and work. Many times ceramic artists can be like ladies at a Baptist pot-luck--sharing recipes, but leaving out one crucial ingredient. It is nice to see Glick secure enough that he shares his ideas freely.
My absolute favorite piece from this chapter would have to be--hands down--Stephen De Staebler's "Sanding Man with Pregnant Woman." Something about how the forms both come out of and are held in by the surrounding clay captures me as well. The columnar shape of the people and the pleasant, barely perceptible diminishing size of the columns--I love both. It stands as a strong sculptural piece either way, with or without the figures. Because I am deeply affected by place, it was wonderful to read that De Staebler included his observations of the Californian landscape into his clay works, showing erosions, and the colors/surfaces of the ground.
Again, this generation of jewelry artists make work that cannot be described as passive or purely ornamental. "He [Paley] wanted [his jewelry] worn by strong, confident women who were not afraid of spectacle." We picked up on this idea in the last chapter with Body Ornament pieces, but I think it's important to note that not only was the jewelry looking for strong, confident women, but the societal context was calling for women to step up and step out as assertive, confident voices in the changing cultural landscape. I can picture the kind of woman that could(can) wear, say Mawdsley's Medusa, for example. Seeing these pieces also highlights the void in our jewelry/adornment options--we have dime-store Sam Moon cheapness or mass-produced Zale's/Kay/Jared's "luxury jewelry." I'd argue--at least in my locale--a person has to really hunt for quality, locally made AND unique, artistic jewelry. Random last note about Paley--I got a major glimpse into his personality when the author mentioned "he preferred the immediacy of construction and forging." I get a great mental image of Paley working, as i've met many metal artists like him (maybe I fit somewhere in that category of "immediacy").
One theme I am taking away from this chapter on the 70s is the rebellion of the artists against the major movements that preceded them--for example rebellion against abstract expressionism, or sculptural weavings that show little connection to the loom, or even Krenov's push back against 50s/60s woodworking and return to an emphasis on craftsmanship. These push and pull moments, I believe, are what keep art progressing and keep art fresh. Our reactions to those who come before us or even those who work with us keep the visual arts dynamic.
Louis Jeminez also passed in his studio in Hondo, NM.
DeleteNope, your not mistaken....these chapters are getting longer. The next one is really long!
DeleteFuture, I remember I just read that--he was finishing the piece for Denver airport? I have enjoyed his works, but never really read much about his life until recently when someone was making flippant comments about his work. It spurred me to look more into his personal life/work.
DeleteGail, luckily I'm a hall monitor during our state testing this week, so I'll have some "extra" hours to read more!! :)
First, as usual, I misspelled his name it is Luis...but to the point next time someone says something tell them to contact me. Really. He was a great man who followed his heart and helped others along the way. His vision of public art was revolutionary, he actually asked the public what they wanted. Plus, he worked in fiberglass before it was accepted as an art form, plus he always stayed true to his heritage.
DeleteI had read that too Emily.
Delete“He was killed in his studio on June 13, 2006 when a large section of Blue Mustang, intended for Denver International Airport, fell on him and severed an artery in his leg. The sculpture was based on the eight-foot-high sculpture Mesteño (Mustang), now on display at the University of Oklahoma”. Wikipedia-
You all probably know this, but his daughter is a multimedia artist (writing, drawing, painting, performance art and art installation) and fashion designer. I also remember watching her on season 4 of Project Runway too. Talented genes there!
I understand when people have aesthetic preferences--like preferring minimalism to folk art, etc--but to dismiss an artist or art style completely as "not art" because it falls outside their definition of art...it annoys me to put it lightly. This was the case I ran into when discussing Jimenez; an acquaintance was making dismissing remarks that came across as very ignorant and racist. I had to defend Jimenez, even though I didn't really know all that much about his work. But I knew how difficult his pieces were to make--so large!! And the fact he passed away while finishing that piece...oh boy. I was hot.
DeleteOk, curating a show with me in it. I had to go walk the dog in order to let my mind process through this idea just a little bit more.
ReplyDeleteMy own art making tends to be very social in nature--I love working in a studio setting with other artists--so the show would need to have a social aspect to it.
WHO: I'd send an invitation to other sculptors I've had the chance to work with in my past/present who work with similar media to me: metal/clay/wood.
WHAT: We'd commit to a two-week process--creating new works to show to the public. Close to the end of the two-week (and the show opening) would be a day long (2 day long?) performance of process put on by the artists for the public. Metal casting, welding/grinding, wood turning/constructing, firing clay (raku/pit/soda). Public would have (limited) access to the studio to watch the art making process start to finish. A day to install the new works in a "gallery" space, so the public can come view completed works--with the process still fresh in their minds. For the artists--problem solving how to install the show, what are the relationships btwn the pieces? How does site effect installation?
WHERE: I'd love to take the artists (and me) out of our usual setting and place us somewhere new, either urban or rural, to see how place/site effects the work produced. It'd be nice if it were a location that doesn't already have a bustling art scene, somewhere that art isn't an everyday occurrence (an art black hole, art vacuum).
WHEN: Duration--2 weeks total to allow artists to work through their creative process, making at least one or more major sculptural works.
What I would see as a benefit to this show to the public is an intimate look into varied, yet similar enough for logistics, sculptural processes and the chance to engage both artist and art. For the artist the benefit is to step outside the normal studio/creative space to work in a new venue with a familiar group of artists; jumpstart a new creative avenue or accelerate artistic progression.
I could see this as a cyclical show--new venue, new art works, new public to inform.
(Oh, the "money is no object" part--artists wouldn't need to worry about tools, equipment or raw materials. It'd all be waiting for our arrival.)
I like the concept but I think your time line may be off by a month or two. Many artist take a long time to think of , figure out details and finish a piece of work. A great idea.
DeleteI agree, the timeline would have to be a little longer. Casting is a easy one for me to explain. The process is long in itself, it takes time to create your molds, wax, sprue/gating system. Then depending on your investment process,( Italian block, ceramic shell, ect.) can take up to weeks just in drying and burnout times. Granted you could do it, but I don't feel like it would be sufficient time to really create something to be proud of, at least for me. I do like the Idea of showing the process. How do you show it to those that cant come regularly to see the whole process? HGN and Martha's cooking shows come to mind. I think your question as to how the works relate ss in the concept of the show itself. Various artist creating in a certain media and specific time period. I would be curious to see the after effects on the artists work processes. Did they adopt anything new? Or make adaptations in their own studios after the show?
DeleteHmm...we do ceramic shell in one week--start to finish. As long as you have adequate ventilation and fans, there's not problem with each coat drying. Burn out shouldn't take long either. Resin bonded sand takes a min of 4 hrs to cure then the wax can be melted out (generally over night).
DeleteI suppose if money is no option then a month (or more) could be given to the whole process. But I have managed to do casting and also soda firings all in one week classes or mini-mesters. The artists prep mentally for the week by sketching/planning what works they will make prior to arriving (I have know some folks to bring waxes ready to sprue). Sometimes clean up can take a long time, depending on how piece cast or what happens when cutting off sprue work. I intentionally cast mostly in resin-bonded sand to cut down on 90% of the clean up work that shell takes. Sometimes that restricts the shapes I can make, but where there's a will, there's a way.
It's been several years, but I had the great experience of building soda kilns. Again it was a process where we threw heavily the first 2 days so work could be bisque fired and constructed a soda kiln "from scratch" (not that I'm suggesting a soda kiln be built for this event). We were able to glaze and do a test firing within the week's time (7 day).
One thing I've learned about myself, is if given too much time..I'll dawdle it away. I work best under pressure and in intense time frames. Perhaps that why this kind of venue appeals to me. :)
Stephen, "did they adopt anything new?" One draw for me to working in a group of artists is the sharing of ideas that happens, consciously or subconsciously. And, of course, sometimes the influence isn't coming from the other artists, but from the place (site) or the same process worked from a different angle.
Love the energy. Wait till Junction the the 26 firings they do in 3 weeks....beyond amazing.
DeleteI think this is a really great idea Emily. I like your theory a lot.
DeleteI loved this chapter! It took me a while to get through it because I kept looking up so many of the artist online. I am most excited about how the idea o "function" is dissipating. Or at least is seems less prominent from previous chapters. Seeing how artist are moving to develop their own styles and sustaining a consistent body of work is fantastic! What was surprising to me was how ceramics changed. The function of clay has moved and become so much more sculptural. It has become more abstract and it allows artist to become recognizable as an individual more. More specifically, I was drawn to William Daley, Gerry Williams, and Howard Kottler. One quote "the hands inform the mind, not the other way around"(p.317) is something I firmly believe in my own process. I don't think I could explain it better myself, "understanding comes through doing and redoing". As artists this, to me, is the epitome of the creating process. Art and craft is not a specific science or simple equation that produces the same result. It is constantly evolving because of the learning process of "trial and error", and I love how this time period seems to embrace that concept.
ReplyDeleteAlso within ceramics I was surprised at how Kottler and Williams pushed the juxtaposition of irony, politics and conventional social ideas. I understand that during this time period many people had things to protest, and wanted an individual voice and expession. I was a little suprised though to read about Kottlers work, How well was his work received? or what criticism was made about "fine art"? The last section of ceramics also grabbed my attention. The use of ceramic as a medium to create something that could be found. The trompe l'oel segment had me looking up more of Richard Shaw's work.
As I moved through the chapter one section that disappointed me was blacksmithing. However it also offered a new hope and anticipation for the next few chapters. The foundry is one of my favorite places to work from casting bronze and aluminum, to forging and hammering out sheets of steel. So it was a little disheartening to see such a short passage about it. I had never heard of Brent Kingson before (also another sidewinding search about the artist and work). I was amazed by his excitement in the process, like Daley and Kottler. It tells how it took him over a year and a half to produce two works, because of how enthralled with the process he was. Now this is not the best for a financial situation, but was best for the development of the artist. I had an Undergraduate professor who constantly would say artist "make shit everyday, we learn through making shit." Now aside from vulgarity, that phrase has always been extremely powerful to me, and is constantly on my mind while creating. There seems to be a common theme in this time period of trial and error, the making of "shit". Looking at how Kingston transformed steel into delicate, whimsy pieces says a lot about how he went through the process of teaching himself how to work with a material.
The last part that impressed me was on glasswork. Last chapter I mentioned Dale Chihuly, and behold her he is. His work astounds me and has fascinated me for years. I really enjoyed seeing how glasswork has evolved to be more sculptural and abstract as well with works from people like Carpenter and Mary Shaffer. The way they contrast materials offered more investigation for me too.
Isn't it awesome that we have the internet to go off on tangents into different art worlds? I can see my lazy self kicking in if I had to get up and physically search out a book or article on an artist I saw briefly mentioned in another book. Because we have such plentiful (and hopefully true) resources on the web to seek out, it's amazing how much we can find in a 10 min or 20 min side-search.
DeleteI like your conversation about "trial and error." A trend I see with my students in an unwillingness to try...and possibly fail. Many of my students freeze up and refuse to try a new process or a new image if they perceive the chance of failure in their attempt. I have to try to build their confidence to 1) experiment and branch out and 2) accept failure as a learning opportunity and a new point of disembarking. Personally, I have no trouble diving in...and failing. Ha, but I do realize I need to spend more time on the "thoughtful reflection" portion of learning; many times I try my hand in new ways and jump on to the next adventure without thinking through what was successful or a failure in my previous attempt. Interdisciplinary learning possibilities--certain learners absorb concepts better when working through an experiment or process in "trial by error."
I hate grades. I truly believe that art should be pass/fail or even pass/pass. Really. Look at the big world of successful art, how many of those artist could pass an art class or would even sit still long enough to stay in class?
DeleteGrades can be a sign of failure or lack of success. How insane in art. If we were able to have classes that took the pressure of "requirements" off the table and in its place put experiment/explore/dream/figure it out it would make for a wonderful class.
I kept looking up a ton of the artist online as well. Just like Emily, I am thankful we have the internet! I agree with your undergrad professor and it takes a lot of shit making to be able to obtain what you want. Sometimes I have to redo projects over and over because all I see is crap. But then I have that moment where it all clicks and it is truly bliss.
DeleteFuture, I agree about grading being tricky for art--because even if a project is a "failure" (it wasn't what you expected/it fell apart/whatever) so much is learned from that process of "failing" or a "failure" can really be a success.
DeleteI do think that an F should be an option for teachers because many times a student stops showing up and doesn't withdraw (college, not kindergarten!! LOL) or really makes no effort at all to participate. I have struggled in classes in my past, but I always made an effort to communicate with the professor so we could work out a game plan for my success.
Side note:
ReplyDeleteI have really enjoyed watching how furniture has evolved. Wood has always been a material I like to work with. But have never been fully technically capable with woodworking. As I've been reading, the organic forms in chairs I keep seeing have offered some inspiration. I've been having problems with laminating real thin strips together. Is there another wood or process that might work better? I've been using glue and resin with vices and jigs. I have heard you can vacuum form, but haven;t gotten much farther than that.
Have you asked Ro in our wood shop or Fred in the Arch wood shop, and if you are ever in Junction there is an incredible wood worker in Mason: Spider Johnson. They may not have the answer but will at least be able to give you some directions.
DeleteThis chapter is beautiful. With all the amazing work and growth in all the craft areas it still surprises me how many were influenced by painters, such at De Staebler studying with Ben Shahn and Robert Motherwell, and Viola Frey with Diebenkorn and Rothko. De Stabler’s Standing Man with Pregnant woman made me think of the mountains going toward Big Bend that look like people ready to be pealed off the rock. I can so see a bit of Giacometti there as well even Michangelo’s unfinished work of figures sort of emerging from rock. I really loved the pieced aspect of this work making it seem old.
ReplyDeleteIt is so great to see different arts influencing each other. I loved reading about the program started by Margie Hughto and will have to read more about the New Works in Clay by Contemporary Painters. I know of Judy Chicago’s Dinner Party and liked putting it in perspective, with other other women artists as well.
I do wish this was one of those interactive texts so I could read it and have pictures of artwork could be projected on my screen with out searching. I am just back from about 5 days in, Southwest Texas, (Alpine, Fort Davis & Marfa and so am a bit tired from driving. Reviewing the notes I scribble on my text as I read I realized how overwhelming this chapter was with the changes. Most exciting or impressive to me was that several of the artists used many different media and explored a lot. Again I wished my recall was better or that I had that time line created we were all talking about earlier. So many of the artists keep returning and I often have to back track.
I loved how Marilyn Levine’s background in Chemistry combined with trying ceramics created a whole ”illusory leather” look as well as with other items she simulated in ceramics. Though in looking at her work, they are not something I adore, I am just blow away by the skill time and technique.
I was happy looking at the jewelry and metal work, loved reading about how Kington was influenced by toys and that he felt art should “delight and invite participation”. I feel most art is successful when it does get some type of participation for the viewer/audience. Though I don’t personally feel it has to be delight, as other emotions (sadness love or anger) are as important or might be necessary for a work to be appreciated. I feel participation is also when you just view a work; but I like the idea of some physical interaction or letting others add something to art work that is in public spaces. Paley’s enclosure was beautiful and it was interesting seeing how commissions seemed more common and how involved the art galleries were in developing an artist and commanding a price for works. Enameling by June Schwarcz is just revolutionary and like many pieces discussed , makes me want to see it as pictures just don’t show it well enough. I was interested reading about her use of copper foil and impressed by her work.
I have now read this book three times. With each reading I learn something new, find a new favorite artist or make a new connection.
DeleteThe mass amount of information in this book is the primary reason I do not give tests over the material nor expect anyone to know it all. I just hope that each of you enjoy the book enough to keep in your "at hand, in the studio" library.
Or use it to expand lessons on processes. Or maybe, be interested enough to learn an new process.
I remember the thing that struck me most about encountering Chicago's "Dinner Party" was the information about how much it cost Chicago to store the piece in a climate controlled unit!! I know, that seems beside the point of her piece, but sometimes artists avoid an idea because it will cost to much to make or what does one do with it after it's made? As primarily a sculptor myself I understand the issue with the physicality of art (and the price in storage units). It's amazing to me that Chicago was undaunted by the logistics; she made the piece regardless of those facts. Aren't we glad?
DeleteThank you for pointing out that Frey studied with Diebenkorn--I must have totally overlooked that when reading. I love his work!! I like knowing where an artist studied and who they studied with because I feel to a certain extent we carry bits of our professor's influence into our own oeuvre. Very neat. I also wondered while reading if Viola Frey is any relation to Barbara Frey (check out her amazing work!!) http://www.functionart.com/AM/Artists/FreyB/FreyB.html
Oh, side note--Barbara Frey is a Kohler artist. I remember her talking about this at her workshop I attended. It was bugging me which ceramic artist I knew that had done the Kohler residency; I mistakenly thought it was Jason Walker. Check him out too, if you have time: http://jasonwalkerceramics.com/
DeleteFuture I was relieved to read that you are still learning about all of these artists, and have read the book three times. It is alot of valuable information, and have already marked some information on artists to use in my thesis.
DeleteA lot of the artists do keep returning. It was interesting to me because I like to see how their career kept going and how it transition. I was also impressed with Levine’s background in chemistry and how valuable it was for her through her craft experimentations. I wonder what her trial and error process was like to finally master her ceramic to look like leather.
DeleteThe influence of travel and how this influenced the artists is also intersting to read about. I enjoy the way the author of the text discussed the use and fascination of “urban westerners” for African and other artifacts used as talismans when discussing William Harper. I appreciated Harpers’s use of a variety of found objects including animal parts. I feel the author’s points about “authenticity” are interesting and valid. So many artists were doing almost futurists work, such as Mary Ann Sherr and her Heart pulse Sensor Bracelet, her work is just cool. Ken Cory’s tape measure made me smile.
ReplyDeleteThe diversity in textiles from DiMare, Lia Cook , Chase-Riboud and Sandoval was so very special and makes one want to read more about these artist. The materials used and the cultural references were very strong . Using paper, silk bone, photography or mylar for the first time and in new ways. Yet I see all of the artists reflecting their personal environment in textures or sometimes reflecting a spiritual sense. So much in the glass was exciting as well, I just enjoyed almost all of this chapter but especially loved when the artist did something unexpected with their material like Many Shaffer with glass and Chain, Ferne Jacobs with Container for a wind. There are just so many good examples during this decade.The variety of materials that many of these artist use to reflect and share their personal work is what I am taking away with me.
I loved Ken Cory's tape measure; I'd be more precise if I had an awesome piece like that. I'd need at least three though (I believe in redundancy because I hate looking for things).
DeleteCurating a show that would include me is honestly a scary endeavor though I would like to do it. I find that I am only in the last few years really working (when I can) & taking my self serious in the arts. By that I mean i am just doing it, and doing and trying what ever I want around job etc. (like everyone else). But before I was not able to balance children and parents etc. so chose to put art in the background, other than teaching it for a few years around other teaching jobs. I mention this because creating is still an awesome surprise when it goes well and I only have a few things I feel ready to share, so if I curated a show today, it would include some sketches of my last visit to southwest Texas some photos, and sketches of tiles I am trying to make for this class final. I know that when I go to a gallery I like to see a variety of work using different media . It might be neat to have a show where you see how different artists depict a specific location. I know this has been done many times. Yesterday I saw a woman's work and her artist statement said she was a thread painter. She paints on canvas and then uses a sewing machine to add details on the landscape. Her name is Anne Eckley. I found it interesting to see her thread paintings of the same mountains I was drawing and photographing. I would like a show of artist perhaps not just depicting the same location or place, but also have the artist all depict the same idea. or something as specific and open ended as hope or loss. But It would be good to create a collaborative piece at the gallery in addition to having work chosen by the artists to be in the show.
ReplyDeleteMartha, I love that idea of having all the artwork in the show over the same idea or image. I think it would be neat to see the different artist's styles or creative touch each piece.
DeleteI love shows based on themes or places. It is like a small beginning point, yet allowing for all different approaches.
DeleteI do not know anyone that does not go through periods of doubt or times when nothing seems to work. Or times when there is no time to work. The exciting thing is that all of in this class are now thinking about art making in a new way.
Ugh, the balancing. I am still trying to figure out the balance of it all--luckily I don't have the husband/progeny part to add to the mix. But just with my job, my home, my dog, and myself (art/friends) I find it difficult to get it all done. I think it's important to remember it's ok to have an ebb and flow to our production. I just remember that I'm no good for anyone--as a teacher, a sister, aunt, daughter, and artist--if I'm completely burned out and grouchy. :)
DeleteI always find it fascinating how students will have the same project requirements, but are able to creates works in so many diffent and unique ways. A little different than in your gallery, but the principle is the same.
DeleteI love the idea of having your sketches showcased. I love going to museums seeing all these wonderful paintings and sculptors, but I honestly get extremely excited if they have sketches of the project or just in general. I feel like looking at sketches shows their thought process and I can see how their brain works. Or at least that is what I see. Therefore, I think incorporating the sketches into your show would be brilliant. I really love that idea.
DeleteHave you ever wondered about your sketchbooks...50 yrs from now, 100 yrs? I don't plan on being famous, but I think about how my sketch books are like a record of my day to day life. Much of what goes into my books doesn't ever become a more developed work of art. And I collect quotes from my readings, etc. An interesting thing to think about others looking into this part of my life.
DeleteBut I suppose that's akin to looking through Rembrandt's sketches...or Chagall...anyone. The sketches were exercises or recordings not ever really meant for viewing, but so helpful to looking into an artist's mind.
Ch 9: 1970s
ReplyDeleteI was surprised to read about blacksmithing taking off in the 1970s into the world of crafts. Blacksmiths seem to have been around since the ancient times of chivalry. Why is it only in the 1970s that it enters crafts? Was L.Brent Kington the first artist to use it as a way of expression and create artwork? As I read Albert Paley remarks about blacksmithing, I thought of my experiences working with glass. "When [steel] is hot, it is extremely plastic and fluid. It is very submissive and yielding to a cause and effect response, a directness, and spontaneity. The paradox of the material is that one is able to visually record all this in a very hard, rigid, and permanent material" (p.343). From my experiences with glass, even as a beginning glass artist, this quote could be said about both materials. My only experiences with blacksmithing is through a friend you is a blacksmith as has been right out of high school. He now lives in San Antonio while running his own business. I encourage you guys to visit his website at http://www.coopersforge.com/artist-bio--contact-information.html It is definitely a medium that is hard to work with and requires manual labor next to hot furnace. He makes beautiful work.
Blacksmiths have always work, it is just that curators or galleries were not looking in the right places.
DeleteYou’re thought about blacksmith being around since ancient times popped into my head as well, then Futures comment popped into my head right after that. I wanted some more information so I googled a few things and I found this interesting video about Blacksmithing in the 21st Century in North America. It was pretty good. https://www.youtube.com/watch?v=pNMFtAkewu8
DeleteBefore getting to the chapter, I skimmed through the pictures of the artwork for the 1970s. I noticed how all the works represented are in a unique category of being odd. Why is it that Obiko in San Franciso and Julie: Artisans' Gallery in NY the most important art wear galleries of the 1970s? To look into this, I searched more information through the web. I came to find out the Obiko gallery started because of a women names Sandra Sakata who was a fashion designer. When looking at the jewelry of this time by Albert Paley and Richard Mawdsley, I wondered if her fashion was as strange as these jewelry works. I also wondered if the new each other for the all seem to have the same belief as Albert Paley in that their work "could serve personal and public purposes" and " allowed you to express yourself as an individual" (p.334).
ReplyDeleteI enjoyed reading about the activist clay artist who used their pieces to share their support or opinions on matters of that particular time period. It was surprising to read about clay being the medium for this protest art. I think Gerry Williams life was interesting in the fact that he came from a family who were missionaries and came to the US to produce his work. I though about our recent election when reading about his work on the Democratic Party power structure during 1968. I admire his support for voting and to share his opinion with the world through his art. I think of the last election with Obama and Romney in 2012. Was there any protest art? If so, I wonder who was making it. Therefore, I searched for any activist artist of today and found artist Ray Noland, Vermin Supreme, Juxapoz Magazine, and the term political art. I would advise all you guys to look those up, very cool stuff!
Another artist I enjoyed to the fact I will carry her design and the images of her work with me is Ruth Duckworth. It always impresses me to find out about their background and how they lived through hardships. Her experiences of living through Nazi Germany and having a Jewish must contribute to her unique ideas. I also wanted to see an image of her large scale work since she was intrigued to do large scale that she came "to America for the chance" (p. 331). The more I look into her work, the more I am impressed with and love. The only site that I found where you could see "Earth, Water, and Sky (1968)" as a space of an entry way is from artbeforesleep.tumblr.com/post/26941032145/ruth-duckworth-1919-2009 . Other images of this magnificent artwork are show flat and does not show how beautiful they work is. I also enjoy her porcelain panels with sculptural forms. I like them for their 3d quality on a 2d surface. The sculptural form stand out not only because they are 3d, they are contrasted against a background with either designs, or color. I really enjoy these, they are inspiring.
I was surprised to read about Jun Kaneko and how awesome his work is. I love his ceramic sculptures because of the incorporation of design and a painting background. His work is not accurately represented in this book, it is way more amazing. The three-legged forms initially caught my eye because of the painted designs and patterns. When I looked more into his work, I found that he does this with all his artwork. He has a simple shape and adds on a design to the surface that creates a sense of unity. I like his relation to pop art or op art. This style of art inspires me and gives me lots of ideas for my own work. Therefore, I am surprised that I found an artist like this in the pottery section of this reading.
A few years ago I got to see Jun Kaneko's work in glass at the Bullseye Glass Factory in Portland. His design was very much like his ceramic works but fully transparent. Although it was "pleasing" it just wasn't as powerful as his ceramic work. It was almost derivative of his other work, if that makes any sense..... Anyway, he went back to the ceramic world after that stint. I guess it just wasn't fulfilling for him....or maybe just not as marketable.
DeleteOr clay just called him back. I have wondered off my path a number of times (usually not very successfully) to return to my little beads and sequins and linocuts. Even the bad art somehow ends up helping me with new work.
DeleteI love the process of play.
What surprised me the most in this chapter was wearable art. I have always thought of clothing as a form of art, but not in the sense of a fine art. According to the book the definition of a wearable art “required handmade textiles but later included one-of-a-kind clothing of any sort.” It was different than normal fashions in that it involved massive amounts of labor, it drew on ethnic, social, and vintage styles, and mostly women wore them. The movement changed in that dying and, images of pop art of everyday life, and language were added. I wonder if the appliqued, bedazzled, and painted clothing that women wear today would be considered a wearable art, or a form of it. Vans Shoe Company also has a Shoe Customization Art Class contest for high school art students to participate in, and they are tasked with decorating the shoes under 4 different categories. I would consider shoes as a form of wearable art in this instance. The great thing about the company is that they believe “In a time when schools are faced with shrinking budgets, art education is often a discipline that is overlooked,” said Doug Palladini, Vans Vice President of Marketing. “Vans have always supported creative expression and we hope the Custom Culture program will inspire young art students and draw attention to high school art programs nationwide.”
ReplyDeleteWhat surprised me next was performance Textiles. Its origins stemmed from the streets, and should be seen in motion, and are more costume than clothing. The Friends of the Rag, a group of artists, promoting performance textiles, appear at public gatherings and political events in shocking attire. Not only were their costumes used as performance art, but started a trend where the audience would come dressed up in their own costumes, thus becoming an interactive participant in the experience of the performance.
What surprised me next was the large woven piece by Neda Al-Hilali, Beach Occurrence of Tongues. The pieces used long sheets of paper, dyed, crumpled, and manipulated for plaiting. It was large in scale measuring between 144 and 216 inches in length, buried in the sand at the beach, then retrieved some time later, and moved to an exhibition hall in the California Museum of Science and Industry in L.A. One I can’t believe paper could withstand the rigors of knotting, and two that it withstood being buried at the beach without falling apart. This art had dual purposes, for it was not only used as land art, but placed in a museum for display.
The final surprise for me was the landscape art designed by John Mason. The medium he used in under the category of ceramics, but he used ordinary fire bricks to develop simple forms laid out in repetitive patterns, with the impression of infinity, which he classifies more as architecture and landscape, and believed that “It also engaged time and place in such a way that it could never be seen whole. It was a model of a new kind of work in clay.” (p.315) I often see gardens designed with different materials to form pathways, somewhat along the lines of John Masons landscape work. I see this as a negative space within the garden, with stepping stones placed in patterns to lead one in and around the garden, just as the eye travels around the design of a painting.
What impressed me were the Fox Fire books. A high school teacher by the name of Eliot Wigginton and his students felt that they needed to document folk art and practices, which were slowly disappearing. Their spirituality, dedication, and desire to see a change in a community was moving, and to realize that these works were done by quite ordinary teenagers, and not professional artists or students working on a thesis. This type of documentation could still work in today’s times as a community based project for teens in high school. It’s a great way to help students understand their link between crafts and culture, while at the same time helping to preserve their heritage.
ReplyDeleteThe next thing that impressed me was the research analysis being done on craft, and how it was taught in history courses. Finally the recognition and acceptance of crafts importance as an art form, and a movement was being taken seriously. Folk art was also moving onto the scene with museums set up for folk art, such as the San Francisco Craft and Folk Art Museum and the Museum of Folk Art in San Diego. There were also books being published on American ceramics, such as the book by Margie Hughton, A century of Ceramics in the U.S., 1878-1978. It was one of the first books to speak of clay in the same language applied to fine art. I wonder when the history of arts and crafts filtered into the smaller colleges and universities as a part of their curriculum, if at all.
The next thing that impressed me was the direction wood working was taking, for it was becoming more sculptural in design. There was still the purest at heart, with respect to the finishes, construction, and functionality of the pieces. However; colleges were moving away from the construction of wood, and more towards self-expression of the artists. As a result the students became lost in designing and constructing their works, a realization that technique is important in helping to achieving inspiration. How can anyone learn any art medium, without being taught technique first?
The next thing that impressed me was the revival in Blacksmithing. Blacksmithing was no longer considered a trade, and was on its way to becoming a studio practice. There were combinations of functional and non- functional pieces, with experiments in the types of metals being used. Albert Paley is an architectural Blacksmith creating such sculptures as the Sculpture Court Enclosure for Hunter Museum of Art, in Chattanooga, Tenn., and the indoor abstract weather vane, by Brent Kington. I typically identify blacksmithing with black wrought iron fences, but Brent Kingtons work does not look as if it was made by a blacksmith, but as a form created by a metal smith. Are courses in welding the same thing as blacksmithing?
What I am taking away with me, is how crafts have evolved from functional pieces to sculptural, nonfunctional works of art. That the crafts are recognized as an art movement and the language used to describe it is defined the same as that for fine arts. Like anything crafts are not frozen in time, but evolve, and change such as society. A craft is not only an art, but is handmade, and a one of a kind. That there will always be a debate over what defines a craft, and that crafts will continue to strive as an art form. That the “market forces favored good presentation and sound business practices and craftspeople had to learn to be professionals.” (p.379)That Americans are finding their own uniqueness, and that folk art is supported by galleries. I look forward with curiosity and excitement to reading about the next decade of arts and crafts in our studies.
ReplyDeleteIf I were to have my own gallery showing, it would have musicians playing classical music, with wine and cheeses being served, with guest lecturers speaking about ceramics . It would be in the finest of galleries, with lots of natural lighting, and gardens surrounding it. Publicity would go out to the community of the coming event, and guest lectures. There would be pottery throwing exhibitions, for the public to gain a better understanding of the medium. The promotion of the show would be geared not just to a ceramic community, but to all of society. I am not very experienced in understanding what goes on in gallery openings, but when I worked for Herman Miller in Austin, they exhibited some of their furniture designed by artists at the Umlauf Museum. I remember the experience of the open spaces, and the connection I felt with the outdoor gardens, and being surrounded by art, it was a feeling of euphoria.
I long ago gave up arguing about art vs. craft. For me it always art/craft. Really it is an argument based on the perception of wealth. I prefer to live with wonderful clay objects, prints, paintings, glass, textiles, metals and all sorts of found objects put together in ways I would never had thought of.
ReplyDeleteAs for a show, why not consider a outdoor event or events where the works are apart of the environment.
oooh that would be awesome
DeleteI've thought about this too, Future, especially after I saw Dougherty's Brushwork on Chapter 10. Not what I was expecting to see while are reading about ceramics and textiles but what a way to take artwork out of the confined walls and into nature.
DeleteBlacksmithing was not so much a disappointment to me but I did wonder where the rest was. I just figured that there had to be more out there that just didn't fit in as the book just gets to big at some point. I remember in past Art History classes thinking how can I memorize all these artists but there are so many more in this book.
ReplyDeleteThere are tons of artist in this book and I am so thankful I purchased the hardcover and not just the ebook. This book will forever be a big reference of mine if I need any information on artists or craft at all.
DeleteHere are a couple of events coming up in Dallas some of you might know if these are good annual events and can give some input as to I guess if they are fun and interesting to attend. But here it the info:
DeleteThe Dallas Art Fair
http://www.dallasartfair.com/
A benefit you can get a ticket for I think $25. A friend said it was very intersting last year to see what "patrons" buy to benefit the arts. Artists/Galleries from many places Italy, Canada...& more
The 2013 Dallas Art Fair will be held Friday, April 12 through Sunday, April 14. Preview Gala, April 11.
PREVIEW GALA BENEFIT This will be at the Dallas Craft's Guild in my neighborhood so I will go to this.
The 2013 Preview Gala will mark the launch of the fifth annual Dallas Art Fair on Thursday, April 11, 2013. The Preview Gala will benefit the Dallas Museum of Art, the Dallas Contemporary, and the Nasher Sculpture Center, and offer art patrons and Dallas’ top collectors the opportunity to preview and purchase exhibited works prior to the public opening of the fair.
This weekend in Addision Dallas Pottery Invitational
The fifth annual Dallas Pottery Invitational, April 13th – 15th 2012 will take place at the Gallery located at Visit Addison, 5100 Beltline Road Addison Texas, 75254. At this new and convenient location the DPI will once again host the nation’s leading potters who will be displaying and selling hundreds of one-of-a-kind pieces of functional art. As the single largest gathering of potters in the southwest, the Dallas Pottery Invitational highlights unique yet usable pottery.
The opening reception will be held on Friday evening, April 13th, 6:30 – 10:30pm, featuring fine wines, hors d’oeuvres. The Greg Ray Jazz Combo will entertain. The show and sale will continue on April 14th from 11 am – 5 pm and on April 15th from 12 noon – 4 pm.
That is neat, Martha. I didn't know about the Dallas Craft Guild's event. There is also the Fallas Dart Air--a great event put on by Peter Lignon of the Shamrock Hotel Studios, counter-culture Dallas Art Fair. I went to last year's Fallas Dart Air and really enjoyed the collections presented by very edgy artists.
Delete500X has a show opening April 13th with my friend/prof Joel Kiser and Jack Craft--new cast iron work "Tales From the Frying Pan." Guaranteed to be very interesting. http://www.500x.org/
Thanks for sharing Emily I am going to try to go, I would love that title "Tales From the Frying Pan".
ReplyDelete