Welcome to one of my favorite books. We will take a chapter a week. Each chapter is divided into Clay/Wood/Textiles/ Glass/Metals divided by centuries. There is a brief overview of history, both across the nation and within art history at the beginning of each chapter. Love this part because it helps be appreciate what each artist was facing during their lives. There are not enough images., but if the book added all the images I think they need the book would be 10 times the size!
As you read, enjoy t his rich history and explore avenues you may not have ventured down before. Or you maybe returning to a path you long ago left behind. For each chapter I ask you to answer three questions 1. What surprised you?2. What impressed you? and 3. What are you taking away with you? Cite page you are referring to...you do not need to rewrite the passage. If you do your own research on a certain artist or movement share the information, but as I have stated before do not send us to a web site...share the address but tell us why you like this site.
Enjoy
( Feb 12th ) I enjoyed learning about the series titled Family. Surprisingly, the first family highlighted was the Moulthrop family of wood workers- something I find extremely valuable within my own family. I was blown away at how exquisitely beautiful these vases and a bowls are. I honestly have never seen such beautiful work with wood-what craftsmanship. All three generations of men were highly educated and degreed gentleman who eventually found a way to devote to their craft full time. Much like the Wyatt trio of painters, Ed, Phillip, and Matt each have their own distinct style of working with the wood. My favorite is Phillip’s design called mosaic. Just beautiful. He says, “ You get this feeling of it (the wood) still being alive in your hands”. Matt mentions, “..being able to extend the life of the tree”. I wonder if that is exactly how my uncle Emmitt felt when he was working with wood. American crafts represents to me using materials Mother Earth naturally gives you. It is a level of sophistication these artists use to create some of the highest quality of craftsmanship in the field.
ReplyDeleteEvery summer my family and I travel to Santa Fe/Taos NM for the art and to recharge. My father and I are passionate about Native American pottery and the ancestry of its people. This form of craft is taught and handed down generation to generation. Having a long strong bloodline of potters with the Native American culture is prized among families. Families who teach the next generation their hand made traditions or talent increase the richness of the art because it now has a story and meaning.
I was surprised within the first few pages of the book at how intentional the nineteenth century craft revival was. Ruskin's thoughts about workers needing to have satisfaction and some creative control is still relevant today and reminds me of the Google section of our last reading. It makes perfect sense that the medieval guild system would be an idealized inspiration to its philosophy, but I had not anticipated that. I had a little background knowledge of Morris, however, I was unaware of the motivations behind his design work.
ReplyDeleteI was impressed with the driving forces that began the English craft movement. On page 5, of my Kindle version, Ruskin's credo is striking to me. It seems to stand out from some of the other idealistic ideas about pictorial and material truth, such as expressed by Pugin. The sever changes that the industrial revolution brought to the daily lives of people and to their goods must have seemed very alien to many. I find a parallel with the way I relate to the Digital age. I have vivid, sugar-coated, memories of the days before computers, cell phones and the internet. I was very aware of the transition from then to today, and at times I staunchly resisted the transition; however, my resistance was futile...
I am taking away from the book's beginning, a fascinating consideration, which is relevant to my own life. On page 7 the ideas of accessibility and craftsmanship is proposed. “The economics of craft are difficult” is a very powerful and heartbreaking statement for me. Is it better to remain true to the noble idea of craft, even at the expense of alienating it? Throughout the included histories, there are examples of artisans having to deviate from their original concepts or make their wares be economically exclusive. Many of the earlier American craft innovators bankrupted and started numerous ventures trying to find a sustainable, and sometimes lucrative, niche for their craft enterprises. The numerous rivalries and even legal disputes between some of the craft pioneers was interesting. On page 24, the ongoing feud between McLaughlin and Storer stood in visceral contrast to the idealistic notions expressed by Pugin and Ruskin. Perhaps ideas are easier to uphold than working systems, and this first chapter really made me aware that a craft idea isn't craft until it is produced. It seems that successful, sustainable production is not a true course in an industrialized system. Perhaps, the current global reality we are entering will make craft work more sustainable for artists. There is a quote on page 30 that is fascination: “Cheapness will ruin the (craft) industry”. When this declaration is tied to Morris's conflict with the inherent value of craft justifying its material value, a craft entrepreneur seems to undertake a heavy load- to make or to live making? I have often contemplated and struggled with this in relation to my own creativity and have seen both side of the argument on social media sites. It is a fascinating conundrum that doesn't seem to have a friendly solution.
Craft and the ideal of craft are two very different things, which is what I struggle with daily. Long ago I accepted I would need a day job to support my habit of making objects. I have never come to terms with how to price work, or even how to promote work beyond an exhibition.
DeleteThe readings will continue to question and document the constant battle for balance between making a living, making beautiful objects and being respected in the world of art.
Remember there is no one answer, only the answer you find for your self.
I've decided on what my craft project will be. All the ceramic histories got my dander up and I'm going to try something with clay I've never done, but always wanted to try. I am going to make a clay goblet style drum called a darbuka. It is an Arabic hand drum.
Deletegreat idea for your project...go for it!
DeleteI took the "economics of craft" to be, aside from cost of time/labor/supplies, to be of Marxist ideals, as it says that he felt art should be distributed to all levels of society, "I do not want art for a few, anymore than education for a few, or freedom for a few." That is pretty revolutionary. It seems nearly impossible to make a living off of studio craft. Not impossible, but difficult. No, I changed my mind, pretty impossible. However, most of the artists during this era of the Arts and Crafts movement are within a social stratosphere that can consider importing a Japanese pottery, men and all (21).
DeleteThere is concern that art won't be taught in universities in the future. A modern guild system could easily replace it, with would-be artists able to communicate with successful artists and seek out apprenticeships. I already see it happening. My concern is that it won't be democratic and that these new guilds will exclude those without natural talent (whatever that is). And the Digital Revolution has the potential to be even more upsetting to societies than the Industrial Revolution was. Factories will need far fewer workers with robots taking over most production processes. Maybe hand-made objects will become more valued and offset these losses. Let's hope!
DeleteMaryjane, I think the internet is an interesting space for art. I mean really we are still in a somewhat wild west period for this medium. We look at, buy, sell, learn, and create things using it so it is both a space and a tool. In fact there is a sect of Internet based artists called "vaporwave" artists that inspired a genre of Internet based art. It uses corporate logos pastel, color schemes, mechanical grids, and glitches. I think the glitches could be the artists "hand" in a completely digital industrial artform.
DeleteAll very interesting and relevant thought. I like James, remember clearly the ushering in of the Digital age. And how Technology became Zeus. It is now firmly here, and I almost fear for future generations and for my own old age. I have probably embraced as much as I can, for sake of survival, but my core self likes quiet, privacy, face to face relationships and conversations, time in nature and time spent making with my hands. Will art be taught in the future? That is an excellent question for those of us perusing a Master'a degree in this field. However, I personally trasure what I'm learning, even if the career is on its way to obsolete.
DeleteI don't think art education will becoming obsolete, but I do think it will, like other branches of education, evolve dramatically in the coming decades to remain relevant in the digital culture and global marketplace. I really like the idea of a bare bones guild system evolving that would take an eagar student and immerse them in a viable craft trade. All that is needed is a significant craft market... Perhaps the digital revolution will have a similar handcraft backlash as the industrial, or maybe craft will have to become digital too. I am reminded of 2001 A Space Odyssey and imagine how a handmade item would fascinate in such a severe, technological aesthetic. I think it will be hard to kill what is so real, that you can touch and feel.
DeleteLet me start, by saying that I do not have an art degree. I enjoy learning and have done so with many of the artists that I am familiar with. That being said, I couldn't get enough of the start of this book.
ReplyDelete1. What surprised you? I was vaguely familiar with the beginning of the Arts and Crafts movement. The work that Pugin,Ruskin, Morris all contributed fascinated me though. Their styles, while vastly different, created a movement that has lasted longer thank probably thought.
2. What impressed you? I think what impressed me the most with this chapter was the forward thinking of the artists and groups. I know that typically artists are more progressive in their beliefs, but to actually create the schools and groups in a time when laborers and women were not as valued (not sure that's the right word I want to use), these groups developed their skills and created beautiful works of art.
3. What are you taking away with you? There were a couple of lines early on in chapter one that stood out to me. First, when discussing the younger reformers during Pugin's time, "If social improvement comes first, should a designer or craftsman turn to social agitation? Or should he believe in the reformativw power of good design to initiate improvement in the lives of ordinary people?" (pg 4). This stood out to me because it made me think about all movements, not just the Arts and Crafts- which does come first?
The other line that really caused me to think was talking about the Century Guild formed by Mackmurdo, "The participants in this collaborative group intended to 'restore building decoration, glass-painting, pottery, wood carving, and metalwork to their rightful place beside painting and sculpture.'" (pg 12). This made me think about why we, historically as a society, have put more value on paintings a sculpture than any of the others listed.
No apologies about your background. Your insights are those of an artist. Keep asking the question of which comes first or who decides when a group of friends are really a movement and how is that played out then and how is played out now with our instant information.
DeleteKaty, I also paused on the ”power of good design” quote. I've come in contact with similar comments regarding art and interior design. I like to think that such environmental and aesthetic details do not really influence people's behavior, but I've never really been able to convince myself of it. For example, when I was a kid, people said that being exposed to heavy metal music was a negative thing and that it would cause problems in a youth's development. There is also the over exposure to TV, video games, the internet... and the list goes on and on. I know that I like to set my personal living environment up in a certain way. It makes me comfortable and motivates me. It would be nice if the general populace had a greater input and influence on the aesthetics of our public environments. I wonder if it would have a beneficial effect on culture and society?
DeleteLike the way you are thinking and wondering. How many of us even take the time to set up our environments? I know I have to have my back to the wall so I can look out the door or a window or both.
DeleteThis comment has been removed by the author.
DeleteMost of the artists we study in art history did not have a degree in art, so don't apologize. Many were kicked out of art schools in their day (Van Gogh for example), and one of the best artists I know got his G.E.D and an Associates Degree in computer programming, period.m His work is in the permanent collection of the Smithsonian. I think that mass art is having an impact that takes painting and sculpture down a few notches. Most of my students are interested in 3-D animation and Game Art.
DeleteSetting up our own environments hugely resonates with me. I think since the freedom of becoming single and being head of my own household has been tremendously freeing and enlightening for me. For the first time in my life, I have been able to create an environment that expresses what is important to my personal needs. I'm also excited to be moving to a new place near to where I currently am. It has been exciting to think of even new possibilities on setting up my environment and my artist work space. I'm hoping to be even more motivated and liberated to create.
DeleteIn school, I always hated art history. I didn’t really pay attention to my teachers because all they did was lecture at me. I am not someone who likes sitting in a lecture class. I am a visual and kinesthetic learner. You can tell me something but I learn better my doing and seeing how to do something. Also, we never spoke about the arts and crafts movement in art history.
ReplyDelete1. What surprised me about this era in American history is the number of women that were pioneers of this movement. In art history, you mainly hear about the men that defined art history.
2. I was impressed with the many men and women that took up the crafts. I was also impressed that a lot of this was taught in universities at the time. It’s very hard to day to find programs that are exclusively dedicated to teaching crafts. You can get a sprinkling of it in some programs, but it’s rarely a major focus.
3. I am taking away from this section that in today’s society and time we need a resurgence of crafting and manufacturing in America. We need to take the spirit of that time and instill it into our generation and the next. We need to get back to teaching individuals skills and not just facts, numbers, and ideas. We still need doctors, lawyers, and thinkers and doers; but there are many people today that are looking for something more. I think crafting can get you to take pride in the hard work and time it takes to create something for yourself or the use of others.
As I sit here writing this my back is sore, my shoulder joint, forearm, and fingers hurt from knitting late into the night yesterday. But I can’t wait to pick up the needles again and keep working on it. I plan to try and make scarves as gifts for my friends and family.
Love that your are knitting! Take photos or your work to help document your final project.
DeleteArt history that is taught by folks who do not have the passion for making art is often dull and nothing more than a time line. I had some outstanding art history teachers that made me want to learn more about what came before and then explore as to what really came before (think Greek/Roman/World/so call Primitive which I call Intuitive). The beginning of each chapter helps to set the art work into real life so that we see the art as it was not as something separate from the everyday.
And yes woman have been and still are excluded, not invited or simply ignored in art.
As an art teacher you know how the art room can become the safe room or the one place kids want to come to and just make things/illustrate their dreams or visions/or learn a new skill. I use to have a bumper sticker that said "Art Saves Lives", the sticker is long gone but I still hold the statement to be true.
I wish I was sore from hand-work. For the last 3 years I have "handled" 20+ college-level classes per year, between teaching online and taking my doctoral requirements. Because Rocky Mountain College has adopted 8-week terms, I am completing teaching 2 classes and starting two more.next week with a weekend between them. But at least I am not working on 4-5 hours of sleep like I did until January.
DeleteAnd yes, art saves lives, Future. I am sure I have saved a few. Teaching is for altruists and we need them more than ever.
I do agree that we need to teach students (high school) some skills they can use later in life aside academic core courses. Welding, wood shop, and even civics. Of course without falling into the trap of placing the majority of the minorities in vocational courses to prepare them for a workforce of skilled laborers.
DeleteI hated Art History because the lack of any connection to the world. Most of the time we looked at pricey commissions and looked at stylish design choices. When we looked at craft it was always vessels and weavings but no connection to why vessels and weavings were important other than the fact other historians wrote about these vessels and weavings and they are "culturally diverse".
DeleteArt does for sure "save lives". It has saved mine. And continues to do so. It is my life line. And I do see this same need in my students. God Save the Arts!!!!!!!
DeleteI agree art was the what I looked forward to most about high school.
DeleteWhat surprises me the most is how devastating the industrial revolution truly was. I consider myself pretty knowledgeable when it comes to art history. I had heard the rumors during my college years that art history survey was the GPA killer- even keeping most from graduating. The art history department at my university was strong. I made sure I wasn’t its next victim and in the process it stole my soul and I became one of its starry eyed subjects.-I chose it as my minor. The real surprise is my gap of knowledge in American Craft; I was taught that the industrial revolution was a great movement in America in my previous history years. There was never any discussion of the social ramifications and the gross ingest of the American family. I was intrigued with Koplos and Metcalf’s comment in the preface saying, “We need a history told in human terms”. I am reminded of a PBS series called the Italian Americans. I gained another perspective relating to our history and the revolution in America. During that time America had enormous amounts of migration from European countries.-economies were poor and people were looking for work to survive and feed their family, no matter how grueling it was. The Italians struggled to keep their traditions and the family unit intact while adapting to the massive industrialization. As I was reading, I became melancholy over the loss of the countryside culture, the crafts, and a way of living that I am sure seems romantic and a little idealistic to me. I was equally surprised at the people’s disdain for manufactured products. No doubt many were attracted to the new, shiny, and readily available items – I imagine it would be the younger generations, much like it is today. Older generations, knowing the time and skill involved to create something of value, rebuked the cheaply made products. I feel a resurgence has emerged within our culture to return to the aesthetic, with the hand made, countryside living with markets and trade goods.
ReplyDeleteWhat are you taking away with you...aside from all the good comments above. How will you use this information in your art life. It may take some more time for you to fully have an answer but keep it in mind.
ReplyDeleteCrafts are rarely taught anywhere outside of an art/craft residency.
DAVID:
ReplyDeleteWhat surprised me the most was the idealistic and often socialistic philosophies of many of these seminal studio craftspeople or their champions. This seems to have emanated from a revulsion against the deleterious effects on society brought about by the Industrial Revolution. It’s something that is brought up so often that I wonder if it was a revolution or, rather, a corruption of the human spirit.
There was an interesting conflation of moral virtue with the dignity of making objects by hand. Nevertheless, people from Pugin to Ruskin to Morris cited either the moral virtues of hand-made objects, the sense of accomplishment that even less-skilled workers could develop, or the utopian adventures that Morris described in his novel News From Nowhere literary effort (p. 8), all brought about through a retreat from factory-made objects. All seemed to have a respect for the workman and nature, and differentiated the studio craftsperson from the drudgery–afflicted factory workers who were abused and dismissed, who were kept from nature by the blight of factories in large cities.
Another thing that surprised me was the conflicting feelings I had for John Ruskin’s seminal role in the revival of studio craft. I did a lot of research on James McNeill Whistler when I was in grad school getting my Masters Degree, and was taken by his “bravery” to file his famous libel lawsuit against Ruskin for writing a very negative review criticizing Whistler’s painting Nocturne in Black and Gold: The Falling Rocket. Ruskin’s said, “I have seen, and heard, much of Cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public’s face.” Whistler won his lawsuit but was awarded one farthing in damages. This did not endear me to Ruskin who I saw as hopelessly traditional until I learned from this chapter that Ruskin, the conservative artist, was a socialist while Whistler did not believe art was for everyone. (p. 4-5)
What impressed me was the many Fine Artists who associated themselves with the studio craftspeople, and had concurrent interests in their influences (and vice versa) – particularly exotic, and specifically Japanese, motifs. Whistler was labeled an Aesthete along with the Pre-Raffaelites (p. 9) whom I have always liked despite art historians’ consistent disdain for their work. The resistance by the studio craftspeople to define high and low art by medium or economic station (in theory) was another impressive, and I would say presciently progressive, philosophy. As we struggle today with the erosion (which I see as healthy) of the demarcations between high and low art, elite and mass art, it is apparent that these personalities were ahead of their times (though mass art is not hand-made by any aesthetic standards).
What I will take away from this reading is reflective of my issues in general with the Art World. It is that egos can wreak unnecessary havoc within fields that are very difficult to survive in in the first place. First was the “pottery war” between Maria Longworth Nichols and M. Louise McLaughlin (pp.20- 29) that they never called a truce over. Nichols even “conveniently forgot” giving credit to McLaughlin for her Limoges ceramic work done before T.J. Wheatley patented the technique she developed (p. 21). And then it was the “art glass skirmishes” between Louis Comfort Tiffany and his rival, John LaFarge, over LaFarge suing Tiffany for “stealing” his ideas, and he did (p. 31). Lastly, I saw the culmination of my concerns with the Art World as Tiffany’s business acumen made him more famous than the arguably superior artist –LaFarge. Even the socially-responsive studio craftspeople were not immune from this factor.
Oh, and I was heartened to see that many early studio craftspeople were interested in embroidery. I was as a kid, and my mother saved some of them, somewhere.
DeleteEgos and reputation interfere with creativity.
DeleteGreat observations and yes this book is filled with other views of what was being made in the very wide arena of art.Thread is easily overlooked because we all have to use it everyday and as such it is not important.
I also have a longing for thread. As I mentioned early on, time in my youth was spent with my aunts and grandmother and first attempts at needlework. I have an idea for my final project. Not sure how to present it. But I would like to combine painting, needlework and objects from childhood into a canvas of remembering my childhood. Then I also like to do one for my daughter Jennifer. She has a brain disorder and had a brain tumor removed this past June. Sometimes she has difficulty in remembering things from her childhood. So I would like to create a canvas called remembering for Jennifer. I have been cleaning out my garage in anticipation for a move, and after watching so many PBS episodes on craft became inspired. I'm not sure how I will pull it off, technically but am giving it thought.
DeleteThis comment has been removed by the author.
DeleteI feel that being a successful artist is part talent and a part marketing. If you want to be a working artist today I believe it all comes down to how you market yourself. One person might be more talented but if he or she cannot market themselves well they may not be as successful as another artist.
DeleteI was surprised how competitive and dramatic studio craft was, considering we are not even getting all the drama in this book. In fact, I remember reading, as an undergrad, about William Morris’ wife having an affair with Rossetti. So I can imagine all the drama between the lines of these pages. The rivalry between M. Louise McLaughlin and Maria Longworth Nichols discussed in the book was pretty extensive, so I can imagine what is not being mentioned in the book. This was a very cut throat era, apparently.
ReplyDeleteI did not know the evolution of the various movements during this time frame, I always just referred to studio craft as the Arts and Crafts movement. I had never considered this genre in relation to the Aesthetic movement and modernism. I feel like I am getting the fuller picture here of the influences and shifts in design and function.
This is the height of Victorian womanhood era and I am paying close attention to gender roles and cultural expectations. I found it interesting that embroidery was considered feminine and unfit for a Victorian gentleman, although embroiderers in medieval guilds were male (6). This is an interesting shift in gender roles.
I also really loved how Candace Wheeler spoke of multiple crafts as serving social and psychological needs, “craft as a means of psychological independence” (17). This makes so much sense when we think about the loved ones in our lives that create various crafts. I love this.
This is an interesting history of women in the arts. Some good some the same ol' same dismissive attitude.
DeleteKeep reminding us of the importance of knowing this history.
I kinda wish I was a fly on the wall during this time. The drama that took place. It's funny because it all seemed to be done in a back handed manner too.
DeleteCorina, I love historical drama! Keep sharing if you know more.. I really feel it helps the puzzle pieces all fit together to understand the whole picture.
DeleteDespite the flood of readily available new products there was a movement to preserve and continue in the way of handwork arts- this really impressed me the most. I guess I had a naïve notion that 150 years ago man wanted the new and the manufactured-the beginning of consumerism. I am impressed with Pugin, Ruskin, Morris’ ever vigil stand on preserving arts and crafts. I particularly respected the theories of John Ruskin, especially his three rules regarding purchasing articles and his creation of the guilds on page 5. I am not sure how he got his personal life so twisted – which made me pause and re read but I appreciate his statement, “In all buying, consider, first, what condition of existence you cause in the producers of what you buy.”
ReplyDeleteI will take away a new understanding and knowledge and a new found interest in a field of studio arts. I have already learned more in the first chapter – which really surprised me. I applaud the authors for establishing a solid foundation in a clear and concise manner. I have always revered craft making but with this new knowledge comes understanding, and with understanding, comes a deep appreciation. I am positive this read will stay with me for a long time.
Good..exactly what I was hoping for...a new view of old works.
DeleteThanks for reminding me of that statement that Ruskin made about what we buy and what kind of existence that causes in others. I have to say that my daughter for years now has brought the Fair Trade options to my attention and how important that is globally. So I do consciously think about it now. And in a very current day experience I was overwhelmed by the arts and crafts movement world wide and in a very Fair trade sense when I attended the International Folk Art Festival in Santa Fe, NM a couple of summers ago. It was extremely well attended and I highly recommend doing that if you ever have the opportunity.
DeleteThe International Folk Art Festival and Indian Market in Santa Fe is a real treat. Your post Diana, made me think about the first world trade market. Henri Rousseau was inspired by crafts/items from far away lands that brought their handiwork. I see a parallel between what the first world's fair did for trade and craft with what internet did for businesses and global communication.
DeletePlease forgive my late posting. I have either come down with bronchitis or flu. Will find out this afternoon. I have done the reading and will post my response later today. And finish reading everyone else's views Thanks.
ReplyDeleteI was surprised at the level of politics involved with craft. The reaction against machine recreating human made objects resonated with me as I'm starting to learn the process of making drums. I'm glad to see the author include the racist display of Native Americans and other people at the World's Columbian Exposition (pg. 14). I feel as though some authors/publishers may have omitted these realities in American history. It was interesting to read how capitalist ideals are always infused in craft in varying degrees. Art pottery was probably the most extensive example of this from my read through as the author even cited a source saying it is "commercially supported individuality".
ReplyDeleteI think the devotion to creation is what impresses me the most. People not caring about institutions approving their work, rather the public appreciating the work. In addition to this, the level of detail and concern for the artist's preferred material is inspiring. For example, the description of M. Louise McLaughlin's hanging cabinet blew my mind (pg. 20). I tried to find a picture, but couldn't.
This introduction to Craft has been great! I keep making parallels between the struggle of visual artists and musicians. Near the end of this chapter (1890's-1910's) percussionists in America were transitioning from marching band style percussion, to ragtime and other dance oriented music. The huge wave of immigrants in the early 1890's brought with it new percussive instruments like the Chinese Tom and cymbal, chinese wood bloacks, and Korean Temple Blocks that would be combined with established European/American drums like the bass and snare. This led to the creation of the drum kit in it's most primitive form. By 1909, the world's first kick pedal was created by William and Theobald Ludwig. Other than it's significance as a music making tool, the kick pedal opened up the the music market for machine built instruments/tools. In 1913, drummers were using fly swatters for brushes, percussionists were rapidly being hired for jobs as sound effect designers creating things known as "trap kits".
My research in percussion and craft is really gaining some momentum now I have a framework of how craft and sound work within the same society. Watching the Music episode of Craft in America helped me see the direct relation of my visual arts needs and how it can tie into my sound/time based needs. I'm still figuring out some pieces, but I see now that my classroom needs more sound in it. Not just kids talking loudly, but some more organized sound to go with the (attempt of) organized visual work.
Sorry for the late post I needed an extra day to think through this text!
I appreciate reading your comments about music. I grew up playing piano and appreciating music. And still do, but I couldn't get past the ukulele segment of the PBS music episode. I will have to go back and finish watching it now.
DeleteThe Ukelele was my least favorite part. Wait till you see the banjos and trumpets!
DeleteLooking forward to it!
DeleteOk. I think I have consumed enough Starbucks coffee to be able to respond to the readings, and hopefully make sense in my semi fevered state. Ha!
ReplyDelete1. I was surprised by several things. One, that really sttod out was Candace Wheeler and her needlepoint and embroidery ventures and mostly where the blue jean material came to be in use first in America. Levi Strauss gets so much attention for the beginnings of blue jeans, when in reality it was because of Candice Wheeler'a looking for just the right material for her work. I got a huge kick out of that. I was surprised about Oscar Wilde's influence on the creation of the magazine House Beautiful. And
I was also surprised to hear about LeFarge and his glass artistry. Tiffany so stole the attention ( and possibly technique from leFarge) that you only hear about Tiffany. I think it is nice when the record gets set straight a bit. And to appreciate what others were doing at the same time.
2. What impressed me the most was Morris' belief about high and low art and how there should not be the distinction. This chapter really helped me to understand in a more meaningful way how the Industrial Age did give birth to the Arts and Crafts movement. Honestly, I feel that with the educational focus on STEM and especially how technology has invaded every aspect of our lives, that I personally am having some kind of response and reaction to my current social circumstances and economics. So I appreciated reading about these historical refernexes and the minds that were at work in Morris, Pugin and Ruskin.
3. I feel that as a public HS and MS teacher, today, that I am trying to live out some of these aesthetic ideals, in bringing the arts to all levels of society and economies. For certain, I am giving students a taste of art, where they might not have had any exposure otherwise. I had a Brazilian exchange student tell me last week that she had never seen or heard of watercolours before and had never been exposed to working with paint. Moments like that are rewarding to me. And remind me of why I'm doing what I'm doing. Even though I would much rather just be working on my own work. This chapter though also pointed out how the artist market can be cut throat, competitive and difficult to make it economically. So many great efforts begun and then failed due to lack of funds. I deal with the very same issue in my own life. I so wish that I could make it on my own with just the work of my hands without having to rely on the profession in education. But for me, it has been the best option.
Pages that are sources for me: 7, 8, 10, 11, 18,19, section on pottery, and Tiffany.
Other than the Picture of Dorian Gray, the knowledge he was a gay man and he died in tragic circumstances because of it are really the only things I knew about Oscar Wilde. Everything I've read in this book about him was new information, including his apparent legendary lecture tour!
DeleteI like Morris' idea of class and art too, it's crazy to think that art is so disassociated with contemporary society that people have to explain why an understanding of it is important. Then again, I suppose this has always been a struggle. Why else would this concept still be talked about?
Nice.Hope you feel better soon.
Deletethe above was for Diana
DeleteAndrew can you give me more about the reading?
DeleteSince most early craft materials are from mother earth- wood, clay, glass, fiber how does one become regarded higher than the other? I question why some craft materials are esteemed to a higher level of skill while some stay more on the craft level?
ReplyDelete