The last chapter. Just image what all has happened with crafts since 2000. Hopefully there will be another book.
I think one of the most powerful points made in this chapter is the simple statement that new, younger audiences were not developed. This is a simple fact of marketing...you have to accept that 1/4 of your client base will drop off for any number of reasons so you need to always be increasing your numbers and never, never rest on what you did last year. This is especially true for museums and galleries. Not on a month to month bases but most certainly every 5 years. One of my complaints about museums is they are only open from 10-5...when the majority of folks work. Thus they become stops for buses of school kids and meeting places for civic groups but not really a place the average person can go and visit. Or at least it is in Lubbock.
Look at the statement by Thomas McEvilley on page 449 concerning the three perceptions of modern art. What do you think about his framework?
Remember you final art work and 500-700 word essay over your work and a response to this semester's work is due before May 14th. You are all authors so simply create a new post (top tabs) and down load image of your work and your essay.
I look forward to seeing your efforts.
future
(Chapter 9) What impressed me? I am intrigued with certain artists whose minds think outside the box with materials. June Schwarcz is one of them. Perhaps just being a house wife with children she felt none of the pressures most artists feel trying to create. Her engineering intellect allowed her to pioneer ways to manipulate materials by creating interesting and unique art forms. Myself not knowing too much about enameling wish I could have studied under her and William Harper.
ReplyDeleteWhat surprised me? I have to agree with Voulkos’ comment, “ the minute you begin to feel you understand what you’re doing, it loses that searching quality.” Possibly your sense of wonder is what drives your creativity then once you’ve master the medium, you look for ways to be inspired? I did a little more digging about Voulkos and was surprised to find he was considered to be the Abstract Expressionist of ceramics. That he believed in putting the whole body into creating with clay- Kind of like a Jackson Pollock of ceramics- being physically involved.
What will I take with me? I feel I am beginning to see the evolution of craft and the maker. The predecessors earlier in the book laid the foundation for learning and mastery of the craft. As we creep closer to today’s times, the artist is pushing that craft to perform in ways not thought of before, possibly combining other craft materials with it. I know I am not saying anything new but it is the freedom of acceptance and intense research in the field that has allowed this art to really grow.
As for my dinner party…, I would invite every woman who worked tirelessly creating a foundation for women in the arts. From the Overbeck sisters, our great grandmothers who quilted, Sarafina, Margaret, Sheila, Mary, Kay, and many more to tell their stories and encourage my insecure fear of failing. To not be afraid of perusing what I love. It is because of each and every one’s involvement – no matter how small- and contributions to the craft that women have a profound stance as a artist craftsman.
(Chp. 7 Response) In response to the future and possibly no division be art and craft. I wonder if this would take on a different look in the museums? Would the word “craft” dissipate? How would the craft museums evolve and what would they look like? Could there really be no division at all one day in everyone’s eyes?
ReplyDelete(Chp. 7 Response) David, interesting comments on Voulkos and monetary compensation for art awards. I feel you need a small dose of humility to keep you respecting the medium but a large dose of ego to sell your work to the public. I wish we all could get an honorable mention but real life doesn’t work that way. There will always be a winner, a cream of the crop, one to be in the museum, one who’s passion for the medium speaks loudly, and one who sells out to marketing and makes loads of money. This is what makes art ever changing and for everybody. Secret lives of the artists is what makes for an interesting back story. Voulkos made his path a little stronger and louder than others. In my opinion, in order for clay to be expressed in that moment in time in such large scale and massiveness, it needed a Voulkos.
Interesting points Debbie. Maybe what is needed is a new word for fine arts and outstanding crafts...and new acceptance of materials/intent.
DeleteOnce Terry Allan gave everyone a first place in an exhibition where he was the judge because 'everyone deserves a first place on their resume"
Very interesting..
Delete(Chp. 8 Response) Textiles during this time are so feminine in nature they remind me of fashion in a way. They look like soft female forms representing a fabric that shapes an hugs the body. They also make me think of free standing sculptures, pillars in a room. I am so thrilled to see the explosion of fibers in 3-D completely breaking the traditional 2-D chains.
ReplyDelete(Chp 9 response). James, I too, thought of the Apple iwatch and the fit bit when reading about Mary Ann Scherr. I find it fascinating when artists or inventors have an idea but the times and technology is not quite there to support it. I wonder if any of the artist creators of Apple looked to History to learn about body adornment maybe even discovered Mary’s work and appropriated the concept in today’s times. It would be interesting to see if the fit bit, iwatch, and others like slowly take on a more artistic/creative look in the future – maybe with a precious metal or gems?
ReplyDeleteI have always held that smart people all over the planet have a wide sense of curiosity mixed with the ability to put what seems to be random ideas into one great ideal
Delete(Chp 9 response) Often when a piece we are working on in the art room does not go as planned, I speak to the students about working the piece into something new letting the spontaneity happen. I encourage them to remember the elements and principles to guide them while creating a new composition. While clay is still green this is possible but once the clay dries it is more difficult to work the clay into something else. So, yeah it becomes a piece for mixed media or mosaic. Recycling artwork or supplies is pudent in public education since our budgets are small. I happen to be a fan of crossing media lines by combining mediums in a piece. While I do not agree with gluing and piecing together in clay, I can see how beautiful things happen when our first idea as an artist doesn’t go as planned.
ReplyDelete(Chp. 9 response)I also, want to mention how much I really enjoy Ruth Duckworth's art. p. 331. She has such variety in her clay work. Her piece Earth, Water, and Sky is a wonderful expression in clay. The sculptures mentioned are based on bone forms and organic shapes-reminding me of O’Keeffe’s paintings of bones. I find a quiet beauty with her piece, Untitled pg. 331. It is so softly sculpted that any glaze applied would have taken away from the ureteral feel of her work.
It is always fun to watch how art can meander from spiritual or soft to hard and loud then travel on to outrageous or sublime
DeleteThe sound suits of Nick Cave (p.468) very much surprised me, or more precisely, shocked me. I just did not see the concept or its visual imagery coming. It's one of those ideas that for me has to sink in. My initial response is harsh and dismissive, which arises from their highly theatrical aesthetic. I watched a couple of video's of the suits in action and slowly warmed to them. I feel they embody an aspect of celebration and energy that has been largely misplaced, or displaced in modern American society.
ReplyDeleteWhat impressed me most from this chapter was the use of pliable bark on page 466 by Dorothy Gill Barnes. The work photographs well, with the warmth of leather and the matte effects of some ceramics. I was fascinated by the idea that the tree, through scarification, was a contributor to the work and at the same time an unwilling resource material. Although the materials are much the same as other craft-work and harvested from natural sources. The fact that the living bark is overtly applicable to human skin is inciting. The aesthetic impact of the work's visual reality for me is tied to this implication, rendering the work both a sacred alliance with nature and a profane utilization.
I came across what I hope to take away from this chapter in the section about Rosanne Somerson, P.473. There is a statement that has lingered as an unbroken thread thought the entirety of the book: “Innovation takes place within a given context...” This thought brought my mind back to the beginning of the book and to days when Pugin and Ruskin looked to the tradition of craft for inspiration. For me, being part of a creative tradition is very meaningful and this book has helped me better understand my need to physically manipulate materials for practical and expressive ends. Most fine art history courses focus on the artists and their grand accomplishments. There is a sense of the flow of artistic tradition, but very little celebration of the physical craft itself. What I liked about this book most is that craft was the star, and I felt that the artists highlighted within were as fascinating mediums for displaying its glory.
Nick Cave's work is an extension of the spiritual/entertainment aspect of body as sound maker. Look at Native American Fancy Dancing, or various African dances, even early hand slapping music. He was able to take that continuous thought and bring it to the a wider audience.
DeleteAnd YES...this book celebrates the art of craft and the love of materials.
(Chp. 8 Response)I have wondered about quilting as a fiber art and how the progression was going as other craft arenas were developing. The book does not mention how this art form was growing and who the influential artists were. I recently attended a district training model and sat next to a colleague who’s grandmother is a professional quilter. When she offered to show me her website I was excited but expected to find a traditional quilter with traditional designs. Boy, was I surprised!! What amazing craftsmanship and creativity. Her work looked similar to a Georges Seurat painting with pixels of color. It truly was stunning. I will find her website and post the link.
ReplyDeleteI think quilts took on a life of their own and develop a huge if not unseen following
DeleteI think that overall McEvilly's framework is a good generalization to describe how Post-modernism relates to modern aesthetics. I think it brings us back to the earlier question regarding image and message. I say that it is a generalization because Matisse and other early modernist artists were also creating critical works of art and there are many post-modern works that I find pleasing, independent of their concepts. The idea of visualizing art's progression as a metered continuum is interesting. Such a perspective could help an art student gauge their own work and divine a path for their creative efforts.
ReplyDeleteNice observation
DeleteI was really impressed with work of Judith Schaechter and her stained glass work. The fact that she uses a lot of the medieval techniques just fascinates me and I would love to see it in action! The detail work that she puts into each piece is just stunning. It is something that I've always wanted to learn.
ReplyDeleteI don't know if it was that I was surprised or just in awe of Dorothy Hafner's glass work. I also have my scuba diving license and can easily see the influence that has on her glass work.
I have absolutely loved this book (and class!). It was really neat to take one chapter at a time and really get into the Crafts of that specific time period.
I recently took my third graders to the Thomas Gilcrease museum here in Tulsa. Some of them had never been to a museum. We are lucky that we have this museum and the Philbrook that are open seven days a week and are open until about 7:00 most days. They also have a Sunday Funday and Second Saturday that are completely free and open to the public. This is a great way to get the families into the museums and seeing art and craft pieces.
I think that visiting museums for artists and art students should be a life long quest! I have never been scuba diving, but did go snorkeling in La Joya Cove in San Diego. I love swimming and water themes and I also was awed by Dorothy Hafner's glass work!
DeleteI was impressed with Dorothy Hafner's glass. Even in the geometry of her work there is a organic quality to her work and a sense of movement. I definitely got the feeling of seeing light and color underwater. It reminds me of being kid and swimming to the bottom of the pool and watching the play of light and color underwater.
ReplyDeleteDorothy Gill Barnes process and choice of material did surprise me. To me bark is a useless part of woodworking. Bark can be beautiful, but to me when I think of woodworking immediately, to mind comes the wood itself and not the bark. The idea of pliable bark made me want to get my hand on some bark and see what I could create with it. I was pleasantly surprised with the idea of time in her art work.
From this book and this chapter I am taking away the idea of experimentation and truly knowing your media. Also the importance of craft teaching and communities. I think in the 90s artist became so obsessed with creating they forgot about teaching and developing the new audience for Craft. Some of that also lies with funding and cutting of programs in the 90s. I think there is a good movement to introduce students to Crafts in Texas schools but the appreciation for it is not there anymore. Today much of Crafts is seen a hobby work and there is no true appreciation for the time and effort and the artistry it that goes into it.
So, as an educator you have the opportunity to introduce crafts with its rich history to students. The lessons do not need to be HUGE with neon signs but what happens when you teach clay and add some of the images from this book? What happens if you allow two students to work on a piece ..one building one painting/glazing...what happens when you have a group project in clay? You now have the historical information to justify your lesson. Mainly when you teach you could talk about knitting...really. What a great lesson is life skills...make scarfs to give to a charity, make a throw to auction for supplies. Learn how to make a sweater...to keep a kid warm. You have access to all the artists and materials this book touch the surface of.
DeleteYes, and thank you! I have such a different perspective on craft than when we began this journey. And i feel that I can use the information in this book to tie in more craft into my teaching approach. One of my AP digital photography students did their concentration of her grandmother'/ quilts and it tuned out just beautiful! I do think that my school community does still appreciate some of the traditional crafts especially. Which is a good lace to begin and springboard from.
DeleteOne of my major goals for next year is to incorporate more collaborative projects. I like the idea of a group clay project. I'm taking a clay course this summer and will keep that idea in my mind. Hopefully, an exciting idea will take shape. Makers really is a great source for lesson concepts, and fully enriched with history and social context.
DeleteI would love to introduce craft as art to my students. I have generally tried to incorporate a variety of media but with my newfound knowledge I feel I will be better at the teaching. Instead of providing a surface background, hopefully, my intense appreciation will spill over to my students. For my final, I decided to work collaboratively with my students on a quilting piece with an african background.
DeleteChapter 9 (catching up) What surprised me was the artist Mary Ann Scherr (p. 335 Kindle) and her jewelry that measured physical body stats. She was totally so way ahead of her time with all of the fit-bit craze that we now have with the technology available to us today. I like the way that she used the technology of the times to create her very unique pieces of jewelry. When I was participating in triathlons, all of my friends were getting these super stat watches for measuring everything about their body and the sport. I was never able to afford one, but was amazed at how much information could be recorded during training. I think that her heart pulse sensor bracelet was much more attractive to look at and wear as jewelry, than say a fit-bit. But it is so surprising to me that she has this idea of combining these elements in the 70's. Too bad that her patents expired. Her heirs really should have benefited from her genius. Sometimes the timing of things just sucks. And she was way ahead of her time!
ReplyDeleteI am always impressed with Dave Chihuly's work, but it was interesting to read about his early work, and his partnering with others. And especially the experimentation with glass tubes and ice that he and Jamie Carpenter did. I'm also reminded of Rudolf Staffel, and his porcelain light gatherers. Different mediums and different approaches all together, but both really catch my eye and my interest. I guess that maybe I am also attracted to the idea of transparency and translucency, regardless of the medium.
As far as the Dinner Party goes - I have always been a fan of this collaboration, and admired Judy Chicago and what she and the many others working with her accomplished. I want Georgia O'Keeffe's setting - except I want a tulip vagina place setting - tulips and crocuses. And have them embroidered on my chair. I'm not sure what O'Keeffe's flower was, but it is just beautiful - and my favorite. Actually my dinner plate would be the cross section of the tulip - the most sexual part of the flower.
What I will take away from this chapter is the multitudinous ways an artist can express themselves, and how that truly in this chapter it seems that art and craft very much overlap and overlay one another.
Response to James (Chapt.9) I totally agree with you and your approach to students and artwork. I find myself teaching the same way - turn mistakes into masterpieces - learn from the process - never throw anything away. I think it is a record of the journey of the artist and that is important. I would have had a very hard time throwing a piece of pottery and then cutting it in half with a wire. (Future). I remember a watercolor professor that threw our paintings on the floor if he didn't like them. That kind of approach never inspired or motivated me in the least.
Response to Katy (Chapter 9) - I love the quote that you included in your comments about the hands informing the mind and not the other way around. I think it can be both, but I do really believe in the importance of the process versus just the end product. The process to me is where the artist is made, over and over again.
Chapter 10 (catching up) Extra questions: First of all let me say that the business of art and I don't seem to get along very well. I just don't know how to do it - yet. It isn't that I would mind making money from my art - but the making of the art is so much more important to me.
ReplyDeleteI really appreciate David's comments on this question. And I do think that social media is a bonus for artists today, and can help. But I don't want to produce art for the sake of money.
And the other question about product vs. message. I think that product is important, but message is so much more important. I think that the concept behind something is a large part of what makes it art in the first place. The thinking process is important, not just the technical outcome.
Also - I want to say that I totally agree with Future - I just want to hide in my studio and come out when it is time for a glass of wine - or a mango margarita! That would be my dream life - really!
I have often dreamed of a community of artist..separate houses and studio (unless other is desired) where we just sit on the front porch or back porch inviting others over for wine and maybe discussion on art making
ReplyDeleteThat sounds like heaven to me! Please let me know if you ever create it! I had a dream once of turning an old building downtown into studio spaces and community. But never had the finances to make it happen and now property here is out the roof! I really envy those artists that were able to work and live in community. Teaching has been a great occupation for me, and will remain so for some years to come. But I'm itching for retirement and more studio time! Ha!
DeleteMe, too! I might add a communal kitchen area (besides smaller private ones) and a community fleet of appropriate vehicles to save money and encourage community-building.
DeleteI think Van Gogh dreamed of that too.. bless his heart. You asked a question several weeks back about a community of art makers.. I believe we all need the support and love of fellow artists. To glean ideas, commiserate about the struggles, laugh at our failures, and lift up with our successes... and a little wine for more laughs. oh, and a hammock, too, for dreaming.
DeleteDebbie, I just watched Lust for Life (Kirk Douglas as Van Gogh), again, and that's a big part of his hopes in the movie. I think I should find a way to build a stronger sense of artist community in the classroom. It would be interesting to see if it benefits or merely complicates the learning enviornment.
DeleteChapter 10 (catching up) Main questions: First of all let me say that the 80's was somewhat of a cultural black hole for me personally. I was popping out babies and living with toddlers! I do remember the main events of that timeline though. And was "present" as a spectator in most of those happenings. Brings back a lot of memories for me. And the thing of where I was when such and such happened.
ReplyDeleteAs far as music though and art is concerned, this decade was pretty much the cultural black hole for me. I was listening to Sesme street and Mr. Rogers and God forbid- even Barney! Ugh! So most of this chapter is an eye opener for me.
I really like the cover artwork for this book, and I would have guess that it was a piece of wearable jewelry! So I was surprised to find it under the category of furniture By Wendy Maruyama, Bedside Box page 385 Kindle. It is a very striking piece. Both the abstract look and the colors and dark look to it. I love the idea of sense of mystery and discovery.
I was impressed learning about Scott Burton and his Schist furniture. The Nasher Sculpture Garden in dallas is a favorite place to visit and it is always nice when educational reading intersects with personal experiences. Which is one reason that I think it is important for my advanced students to be exposed to art museums. Even as close as we are to the DFW area, many of my students have not had an art museum experience until we go as a group.
Back to Burton though, I'm really drawn to his Stone public furniture. And impressed with his thoughts about art and the connection between art and society and the everyday.
What I will take away with me is being much more about this decade and the trends artistically that were taking place.
Some favorites are Jim Makins and his Black tray demitasse set with cups, and of course reading about Chihuly's next phase!
And I forgot to mention my experience with Patrick Dougherty! My Sculpture AP class and I were invited to work with him on a project called River Vessels on the Brazos River in Waco. It was a celebration of Cameron's park, but the experience of working with him was unforgettable! Such a nice guy! And he really invited community collaboration. He was also great with the students and in directing them in how he works. A once in a life time opportunity. This was back in fall 2010.
DeleteGood..life continues, we just have to take time to figure out what else went on around us
Delete(Chp. 10 )What Impressed me? Richard S. Newman’s questions about Castle’s experimental and freewheeling approach to teaching make me think of choice base art rooms and PBLs. I fear fundamentals are a little lost to the free style studio. Early on craft artists were expected to learn skill, basics, craftsmanship first then branch out on your own to explore but at least the artists knew the fundamentals. Possibly we need the conservative values of Ruskin, the wildly expressionistic Voulkos, and the free thinking Castle to create an exceptional art program.
ReplyDeleteWhat surprised me? Honestly I am surprised with the use of the material Color Core. I, like Ruskin, believe the materials should be honest and find Color Core a breach in the area of wood working. I also am more of a conservative artist and feel craft artists should be careful in the realm of post modernism. Newman felt that studio furniture lacked sophistication and complexity, pg. 382, I lean towards that way of thinking with most postmodern ideas. I guess I am slow to come aboard but feel this is okay. My appreciation is definitely modernism and before. When I read the sentence, “ while no individual could match the richness and detail of the best 18th century work” I felt this described my sentiments about post modernism work. I value the work and thoughts of Newman and his neoclassicism way of thinking even if the critics felt it was a step backwards.
What will I take with me? John Cedarquist’s work is extremely clever pg. 387. Ed Moulthrop wood turned vessels are absolutely stunning to me. They make me think of the black on black polished pottery of Maria Martinez of the San Ildefanso pueblo. I’ll admit, they are my favorite and if I had money to purchase art, his would be at the top of my list. He was the artist I studied watching one of the PBS series and would love to see more on him. When previously mentioning children’s art books, Moulthrop came to mind as one woodworking artist I would enjoy writing a book about. pg. 391. I was not sure why the critics felt Chihuly was in violation of the hands on maker when this really has been going on for many years. Weren’t quilts made with many women sitting around working together? Native American artists worked in teams- Maria Martinez worked with her husband Jullian and daughter in law Santana. Great Masters of fine art had apprentices working alongside. I value the art regardless of one creator or many.
What is more important the message or the image/product? Naturally, I would say the product but on the other hand and also a view of art, I find the message to be just as powerful. There have been many times at an exhibit I have been moved by the message never paying much attention to the image/product.
How do I feel about the “business” of art making? If you are too successful then it seems you have compromised then if you have not figured a way to market your art then you can’t survive. It is a tricky balance.
( chp. 10 response)
1.Maia, I have a hard time with cheap materials and/ or manmade as well. I know they have their place but it feels after studying about great artisans and craftsman who’s skill with natural material is exquisite.
2. I try to purchase work from students even high school students from art show if they are willing to sell. Typically it is from Art 1 students who are willing to part with their art for cash. I feel extremely uneasy when discussing price. My value of the piece and how precious it is to me as an artist and teacher is way more than what their offer is.
3. I have thoroughly enjoyed looking up images on Google. I have developed a rich appreciation and deeper understanding of the artist and their body of work. It helped me discover how pivotal their work was at that moment in time.
We all learn differently. And we all learn at different times. I believe a good art program allows for it all. Tight craftsmanship, loose experimentation,public shows, private conversations.The real trick is to (as you have done) accept the way YOU learn so you can share that way and allow for other ways without having to defend yourself.
DeleteI appreciate James' comments about McEvilley's framework for modern and post modern art. I find it confining though. To define it down to these terms doesn't seem to fit the expansiveness of the times. I can appreciate his view, I just think it is a bit limiting.
ReplyDeleteI'm surprised (and not surprised) at the preeminence of glass during this decade. Let's just say that I love, love, love Dorothy Hafner's Black Lagoon. I love water themes and this piece is just so stunning! I remember my first glass blowing experience to be around was in Red River, NM. The glass swans, and ships that Ginny Ruffner would smash! Ha! I still have a glass blown ship in a glass and wood case that I bought for my father on that trip! It was fun to watch them blowing the glass. I was fascinated!
I will say that I was very impressed with Ginny's story. And to do therapy and get back into her art after her car crash. I find it interesting that she uses tornados for creativity?
What I take with me from this chapter and this book is a much richer and deeper understanding of craft. And the love of craft. The importance of making. And to me, the sacredness of it all. I'm so awed and inspired by being introduced and re introduced to so many artists and makers. And really only re introduced to a very few!
I have seen that Baptismal Font by Tom Joyce in Santa Fe, and it is beautiful. Just didn't know who created it when I saw it. I also relate to Lisa Hunter'a work of Old Soul, after watching my own father die with cancer. I really appreciate being exposed to such a huge body of work and artists. I think it is time for another book. Maybe every 20 years would be good moving forward.
Yes, another book!
DeleteDiana, I had much of the same initial reaction to McEvilley's framework. At first, I wrote quite a bit longer of a response, but waited to post it. After reading over everything a few times, I was able to find a middle-ground of sorts and accepted the simplified view as a way of focusing a my/ student's thoughts. I agree that the Modern era is very dynamic and deserves a more extensive consideration.
DeleteChapter 9
ReplyDeleteI was surprised to see more figurative work going larger, such as Viola Frey’s sculptures.
I was fascinated by the revival of architectural metalsmithing Albert Paley brought with his gates and fence. They seem so whimsical, as if they enclose a hobbit’s home. I like unconventional solutions to architecture. I had once considered creating a fence to rid the hurricane fence I have, but I was never satisfied with anything I thought up. Maybe someday…
I am blown away every decade we read by ceramics, I just never knew how fascinating the history was and how drastically the medium transformed.
For my place setting at the Dinner Table the plate would resemble maize, specifically the glass gem, which has beautiful jewel toned colors. I loved how Sandra Cisneros describes her lady parts in “Guadalupe the Sex Goddess” as “my sex, dark like an orchid, rubbery and blue purple as pulpo, an octopus, does not look nice and tidy, but otherworldly.” Sorry to get all graphic, but I love how Cisneros, as a woman of color, is learning to love her body, especially in a culture where your expectation are to have no sense of sexuality. I would want the husks of the corn to undulate and reveal these otherworldly colors. For the goblet, I envision something in the style of the California Pottery(162), something brightly colored, but with some fine intricate texture to it like Robineau’s Scarab Vase (89). The chair, I would like free form organic chunks of wood like Wharton Eshriick’s studio staircase (171), but with the front of the chair to resemble women’s legs so that when you sit on it, it seems like you are sitting in an occupied space. I got the inspiration for that from Wendell Castle’s Coat Rack with Trench Coat (370).
Responses
Katy Cook on Mary Ann Scherrs’s jewelry, and she being the original fit bit creator: That is true! It is so sad that anyone can just take her ideas and run with it after her patents expired.
James Brown on Marylin Levine’s trompe’oeil: I am trying to wrap my head around it but it says in the text that critics called the work conceptual, but not having anything larger to say about the world or the times (323). I resent that and completely disagree with that, I think its kind of sexist because I think the objects she chose, the wear and tear, recreating them in a hyper-realistic forms speaks volumes.
I want to come to your dinner party! And yes, women (especially women of color) are dismissed when it comes to their bodies ...dismissed when they use their bodies and when their bodies are used by male artists...and dismissed in their choice of materials and subject matter.
ReplyDeleteI can only post from my wife's gmail account on her computer. So here is DAVID MESPLÉ giving it a third try:
ReplyDeleteThomas McEvilley (interesting last name?) lists 3 perceptions of Modern Art. Perceptions are often reality, but his descriptors are art historically grounded. The linearity that most art historians praise has shortcomings and "Modern Art" is a problematic term. By the 1880's art was trying to define itself since society was not doing that any more. This quest for identity led art theorist Arthur Danto to conclude in his seminal text "The End of Art" that art was dead until its essential nature was defined, by Philosophers! (A bit like having dentists define football). Philosophers have weighed in on art for millennia, but no agreement has ever been reached as to its essential defining features. In the search for explanations for the essence of art, artists defined a plethora of "isms" each eclipsing, or making obsolete, the previous ism.
Art history looks to categories to understand how objects may be related to other objects, but similar attributes may become grounds for permanent, unalterable and eternal inclusion of an object in a category that does not represent its essence. In the arts, looking for common attributes can lead to mistaken categorizations. Example: most art students misidentify non-objective art as abstract art.
The advent of the “isms” in art in the late 1880's, lead to philosophical crises where art, seeking its essential nature, was assumed to have a required philosophy to define itself. This position, put forth by Arthur Danto, led to his text “The End of Art.” Danto’s conclusions have been contested by others because no immutable essence of art has been universally described by philosophers. Theorist Michael Kelly disagrees with Danto: “What has ended is not art itself but the search for art’s essence and the history of art determined by that search.” Now freed from the search for its essential characteristics, art is free from essentialist definitions and cannot become stultified within new “isms.” If, as Kelly suggests, art need not find an essential quality that conclusively defines it, then essentialist strategies can inhibit problem-solving performance within art.
Michael Kelley's refutation (“Essentialism and Historicism on Danto’s Philosophy of Art.” Columbia Univ. Press.) of Danto's dire conclusions frees artists from these constraining isms as well as the need to define art. The modern artist of today need only be of today. All aesthetic histories are viable.
What surprised me most is that Realism isn't "traditional", Abstraction isn't "revolutionary", Conceptualism has permeated art for millennia. What craftspersons have known forever has become a freeing force in the larger category of Art. An artist may decide what to make, how to make it and why. Moreover, the "deskilling" of art decried by Chuck Close is waning. While a proper audience for crafts may not have been developed recently, the appreciation for handwork is increasing. Virtual reality may be entertaining, but reality is far more interesting.
Lisa Hunter's multi-media work (p.467) shows expertise in the many mediums she employs. Even Albert Paley's design-studio process still results in obvious handwork (p. 463). The "c-word" that Chuck Close praisess is "CRAFTSMANSHIP" and, even in the age of social media, craftsmanship is being recognized as indispensable to the human condition. When Nick Cave (p.4680presented at TTU a year ago, he made it abundantly clear that he was in control of his media, as well as his content and motivation. It was inspiring to hear him speak to these points and describe the rationale for his “sound suits”.
Yes, Virtual reality is cool but you are right, reality and the ability to view art with our senses is still leads. I would much rather be in the presence of a great piece for my eyes to absorb, my skin to touch, and my nostrils to smell. Great post!
DeleteI have always enjoyed the arguments between historians/theorists about that which they do not dare to try and crate.
DeleteWhat impressed me? Dorothy Hafner’s glass. I am absolutely amazed at the tenacity and integrity of the artists throughout this book. I am such a babe in the woods when it comes to this level of art making. I admire her hard work in seeing her idea through.
ReplyDeleteWhat surprised me? Suzan Rezac’s fragment necklace reminded me of pottery fragments located in Pecos, NM. A site excavated showing an early pueblo of potters and hunter/gatherers. It was tradition to break the vessel after use. They had certain circular pits where they would throw the vessel.
What I am taking with me-I am seeing the level of artistic expression rise to the title of fine art. I am seeing manipulation of materials taken to new heights and conceptions. I am still drawn to the wood working and how it has become sculpture. I feel wood has the same level of aesthetic as ceramic, marble, stone, etc.. I also feel fabric has manipulated itself into the sculpture realm.
Thomas McEvilley’s three perceptions of modern art: I can agree with the Matissean and Duchampian and the analogy of modernism and postmodernism but can think of many more perceptions that modern art would fall under. It is too wide spread of a genre to define down to just 3- but it is a start for sure.
I hope you return to this book time and time again. The history is fascinating and I find myself re-reading the book each year.
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ReplyDeleteWhat surprised me is Rieger’s process of making pottery without studio equipment (p. 222) by beating it with wood and rope and so forth. Another surprise is MFA degrees in ceramics are becoming the standard. Leza McVey’s forms are fascinating as well as being something I want to try making. My understanding is that in ceramics one becomes good at the craft by first trying to make another artsit’s work, work that appeals to one. Her connection to Maija Grottel is surprising to me. These developments of ceramic work that has never been made before with stoppers and feet does shed light on the later work of Voulkos. All the clay power-couples of this period are also an interesting development. It is almost that the ceramic artist or craftsman in general with the capital “C” is receiving a sort of superstar status.
What impressed me is MacKenzie’s comparison of discovering a pot over time to getting to know a person (p. 219).
What I take away from here is the idea of making things that serve the user and are not self-imposing (p. 217) from the Zen idea which was embraced by the ceramics as well as the Arts and Crafts community of this time. Things “born not made”.
If I found myself in a class with Voulkos, Asawa, Nakashima, I would be building my own pottery wheel, throw “off the hump”.
I am not sure if the Arts and Crafts movement embraced Zen (the movement was over by this time) but Zen did seem to allow for aspects of the movement to continue.
ReplyDeleteChapter 8
ReplyDeleteWhat surprised me are the upheavals, in particular assassinations of John F. Kennedy, Martin Luther King, and Robert Kennedy. Tawney’s departure from religious subject matter in weaving tapestries (p. 260) is surprising, as it is so reminiscent of subject matter from the Middle Ages that has not quite yet caught up with the developments of ideas in other crafts.
What impressed me is the shift from the utility of form to intellectual content of craft (p. 257), and with the birth of performance and video art it looks like the birth of conceptualism in crafts. This is not necessarily the case as intellectual content had already been creeping in with the work of Voulkos and such. Zeisler’s Red Preview (p. 262) is both surprising and impressive in its sculptural qualities, which I would not normally expect from textiles. It is provocative as well as thought-provoking, sexy and evocative, and scandalous with its reminiscence of both female and male anatomy.
What I take away from here is the age of counterculture, tie dye, leather, macramé, youth culture, revolution. However, it seems every period in this book is the age of revolution of the crafts in its own way.
For all the idealistic movements, the one that speaks to me the most is dance and how it is connected to fiber and textile artists (p. 261) of this time period. It makes sense, since performance art, something I have done in the past as well, is an idealistic art form in itself. It is all about artistic expression and zero about profit.
Chapter 7 Response to James's post
ReplyDeleteI agree with you in part, James, that Voulkos "tea cup bashing" is an effort to rescue ceramics from a slow death of being outdated. He breaks away from the wheel and pushes his students to do the same. I am a big fan of his, as you may be sensing by now.
Not sure where your reference to the Middle Ages came from?
ReplyDeleteChapter 7 Response to David's post on anonymity.
ReplyDeleteAgreed, however, could we as artists use the mystique of anonymity or a fake persona to our advantage? We can pique the interest of the viewer in my opinion by not giving away too much.
Chapter 8 Response to James' post.
ReplyDeleteJames, how much is the shift to the intellectual really the reflection of the larger picture of the events and other art movements that are happening at the time? Everything is connected, I believe certain pieces drive others and vice versa.
Chapter 8 Response to Debbie's post.
ReplyDeleteDebbie, I had wondered the exact same thing: why are there no children in this book? I believe it was a mistake to exclude them, they are honest direct artists and skillful craftsmen with an open heart.
because it is not an education book...and it is about men/women who dedicated their lives to making their art/craft. Although children can be excited about creating their intent is totally different and their challenges are less.
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ReplyDeleteWhat surprised me is looking at clay as liquid or as dust and the Unfired Clay competition (p. 311). I had always viewed clay as something permanent. When I think of ceramics, it is fragile, but also the material archeologists use to date civilizations. It is fired to extremely high temperatures, so it lasts a long time in the ground, even after the buildings collapse.
What impressed me, as always, is Voulkos and his matte black glazes of pots that “might have been made in the dark” (p. 313). This stacked, tiered work is the first thing I think of when I think of him, and his human-scale sculptures is what made me fall in love with his work and has me talking about it over and over in this class. There is something grandiose about them, like Picasso, but taken up a few notches.
What I take away from here time and time again is ceramics as a sense of community (p. 312), the feminist twist of Judy Chicago that I already know and love (the question is when the work is completed by volunteers and conceived by the mind of the artist, can we still contribute it to the artist or is it the community that owns the work?). Price and Taos, I almost moved to that little town about two years ago, a little town of so much magic and appeal; now I know why.
My place setting is the Mad Potter, I know, not Voulkos, surprising… My cup has a handle which is a mustache tilted to one side, the plate is off-center, the seat a wooden rustic chair in stripes trousers.
Chapter 9 Response to James' post.
ReplyDeleteThe idea of working with clay "until it collapses, that there's nothing to it" is akin to not getting too attached to any particular piece, which is not easy to do, since clay also needs to be babied. Although it is absolutely necessary.
Chapter 9, Response to Katy's post.
ReplyDeleteKaty, Overton school has an interesting librarian who made an imitation of Chihuly that hung in the library, it was beautiful!
Chapter 10
ReplyDeleteWhat surprised me is the revival of classicism (p. 383), it almost comes in cycles in this text, once in a while classicism makes a comeback. Bennett’s work is surprising (p. 385), but not something I comprehend.
What impressed me is Castle’s Never Complain, Never Explain (p. 384). It is a piece that is beautiful work of art, but also something which asks a question, as my mind does not wholly comprehend what it is I am looking at in terms of form. Perhaps it is the legs of the table that are made up of cones or the details attached to the table-top. I love the title as well.
What I take away from here is Newman dropping out of Cornell Physics to build banjos (p. 382), rediscovering old form (Windsor chairs, antique French tables with inlays) to utilize the vocabulary of that form in their pieces that are clearly modern. Maruyama’s Bedside Box (p. 386) is definitely a takeaway from this chapter. Emotional colorings in Maruyama’s furniture remind me of Goethe’s color theory. Mattia’s Golden Banana Valet Chair is delightful (p. 389) and his trying “to ground [his] work in a context of familiarity. Once the familiar connection is established, anything goes.”
Message and the image/product are equally important to me, form follows function/idea, and they both inform each other, even if form asks a question about function or challenges it in some way (p. 382). The “business” of art making is essential to be a successful artist.
Chapter 10 Response to David's post.
ReplyDelete"Art without form is either brilliantly conceptual or does not exist". I like that... I also find it interesting how in our discussions we have started using art and craft interchangeably, which was not the case at the beginning.
Chapter 10 Response to James' post.
ReplyDeleteInteresting that you are comparing the marriage of post-modernism and traditionalism to war. I see it as a borrowing of old vocabulary to make new art and reinvent what is already understood, like a jumping board in a pool.
What surprised me is the refined perfection of Marioni’s glasswork with its historical references within the postmodernist art scene. The versatility of glass medium as a means of postmodernist expression is a surprise, in Clayman’s Tender (p. 454) color and form are nearly weightless as the “parent” form is holding the “child” form while releasing it into the world. The rusty nail jewellery is a surprise (p. 457), especially considering my own attempt to use rusty rail road nails in my sculptural ceramic work this semester. I had made spherical B-porcelain pieces with the intent of attaching the rusty nails to them after the glaze firing was completed.
ReplyDeleteWhat impressed me is the use of light with these works from Clayman’s use of opera stage lighting experience in his glass work to Schaechter’s evocation of stained glass, alliteration to religious imagery and execution and quoting the use of light in church windows. (p. 456)
What I will take away from here is the tornado of poeticism of Ruffner’s work (p. 451), where much of the assigned meaning lies in the titles of the work. It we were not given a reference point for interpreting through the words associated with it, it would be meaningless. It is the moving “from language to its realization as an object” (p. 452).
McEvilley on his three perceptions of modern art (p. 449): Matissean (supposedly as a reference to Matisse?) or pleasing, transcendental/metaphysical, and Duchampian/critical. I would argue there are more: shock art, playful/humorous, kitsch etc.
David, I find your idea of "what artists had known forever" as the freeing force in conceptualism very interesting. There is a kind of humor of having had the answer in front of you the entire time.
ReplyDeleteNigel, I suppose the 90's artist is obsessed with creating and almost withdraws within themselves, it is about the mastery of their craft, but also about the larger concept and the art history that precedes the piece.
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