You may notice the date allow for Spring Break. Use this time to catch up on your reading and work on your final project.
First thank you to everyone who answered the "extra question". I may not of made myself clear, I want you to answer these questions in addition to your usual 3 questions.
This is a great chapter with lots of changes...what do you expect when you have the creation of Mickey Mouse, the publishing of Mein Kampf, and the first talking movie. When you get to the section on basket weaving, slow down a bit. This almost lost art is varied and beautiful, it just takes some time to get over all the old jokes about art being BasketWeaving 101.
For the extra question I want you to share some thoughts on the "discovery" of Native crafts...Corina please add what you know about crafts from the lower North Americas. Was the influence of the collectors good or bad? What is respectful? What is necessary to make a living making a craft?
What impressed me? I was impressed the Overbeck sisters started a pottery enterprise all their own. I was equally impressed these women all obtained an education in the arts. Their vision of experimentation and originality I feel was unlike other pottery establishments at certain schools. I also am impressed with jewelry designer Josephine Hartwell Shaw. Her designs are exquisite and unique with her inlay stones including the one visible from the back. I plan on researching more of her work.
ReplyDeleteWhat surprised me? I am intrigued with the potter schools and or houses. They enlisted true expert potters as instructors but used sick or unfortunate women to create the pottery under the guise of “school” or save them from humiliation. This sounds much like assembly line pottery for the masses to me. I am actually surprised how women started to rise in mostly a male field.
What will I take with me? I have to say that at the beginning of each chapter, a historical back story is revealed in a light I have never realized before…It is interesting, I have dinner with my dad every Wednesday –who happens to be a HUGE history buff (especially American patriotism) and a supporter of my career in the arts, we discuss back and forth the reading for the week. This week I have been reflective of the prejudice of the elite Anglo-Saxon and the Colonial Revival. I see with eyes I haven’t seen with before.
How we learn and where we learn? University city was interesting in that it allowed no limits on time. I wish I had that amount of time with my students to create. Often, by the time the creative juices flow, it is time to clean up. This is about the only ideal I liked about University City. Most of the “ schools” created were by men- for business reasons. Women master potters were not recognized in abundance- most were behind the scenes still.
great to know how you and your father can both explore a new side of history...good work
DeleteSo cool about your conversations with your dad each week. I happened to have an interesting conversation with my 79 year old mom at lunch today about her being a child in WWII, and some of her memories of the times. How life was, and family. She actually became a bit emotional and nostalgic when she remembered how people use to really converse and listen and talk to one another. Today, we mostly text. And she is pretty "hip" and like to text too. But it made these past decades seem a bit more realbto hear her talk about what was going on at the time. And her childhood decade was more the thirties. But, still it landed me some perspective. Enjoy those times with your dad. I miss mine terribly. And wish i could still talk with him and ask him questions. So much knowledge and experience in older generations that I think we sometimes miss out on.
Delete(Chapter 3 catch-up)
ReplyDeleteWhat I’m continuously impressed with is the number of women that we learn were involved with the Arts and Crafts movement. Like the Overbeck sisters and their and their pottery enterprise. I was also impressed with how they overcame their individual weaknesses and made their pottery business work. I was also impressed and intrigued with Marguerite Zorach’s “needlepaintings”. I would love to have seen these in their prime. What surprised me was how Occupational Therapy or you might say Art Therapy came about. I was surprised that they started using these techniques as far back as WW1. What I will take away with my is the healing power of art. I am continuously intrigued with how healing art can be. I will also think about how I can experiment more with knitting and embroidery thanks to Zorach.
After teaching art for a year. I would like to see more art being made for the sake of art. I found it a little stifling to have to work around all the deadlines for contest. It also seemed that that there was more contest being added on by the end of the year. I remember when I was in school the only contest in Texas we had to enter was the Rodeo show. I was allowed the freedom to draw and create around the topics my teacher was teaching us at the time. I think it’s sad that a lot of these people never made it into the history books or that arts and crafts is not given its’ due. As much as I love the big art movements I am continuously more intrigued with the arts and crafts movement.
I totally agree. I can not tell you how many times I have worked with well meaning groups who say "Oh, we can have a competition for the kids and show off their art"...never once talking to a teacher about timelines.
DeleteThe wonderful point of this class, this book is now all of us will have more to add when we talk about art, teach art or make art.
(response ch 3) As an educator, I am also inundated with emails, encouraged by admin to partake in this contest or that one. I sift through them to find the ones that could be relevant to my curriculum and state teks. I also try to find students who would benefit from the opportunity to shine. When I was in the 5th grade, I entered a fire safety contest and won. I new I wanted to be an artist but this shallow little art contest gave me the courage and affirmation that I needed to keep pursuing the arts. Nigel, be selective with your contests.. maybe alternate every other year. Find the ones that help your students not hinder your program. They are good for art clubs as well.
Delete** I agree with you on becoming more intrigued with arts and crafts. Don't you feel there is a resurgence in America today?
Chapter 3 Post- sorry I was looking at art in the Caribbean for a week!! :)
ReplyDelete1. What impressed me? One of the artists that impressed me was Frank Gardner Hale (pg 98-99) and the fact that he had a background in graphic design. In the necklace pictured in the book, I can see the graphic elements and how they are balanced with the soft metals and jewels. I really appreciate the simple beauty that he was able to achieve.
2. What surprised me? I did not know the history behind the Arequipa Pottery (pg 91-92) and found that fascinating.
3. What will I take with me? An immediate connection that I had was while I was reading about the Armory Show (pg 86) and the Association of American Painters and Sculptors. I recently did a unit on Seurat with my K-5 students. In one of the videos that we watched (Artrageous with Nate, available on youtube) he said that Seurat and his counterparts were rejected by the formal society and they created their own group of artists. It really made me pause to consider what happens when a collective group with similar interests get together to accomplish a goal.
4. Who is allowed to learn and more importantly who is allowed into the history books. How would you create your learning environment if you could set aside all the current requirements? Wow...Personally, I believe that everyone is allowed to learn about art and artists. That being said, it is a predominately male and white group of people that we would be studying. There are few artists that minorities can connect with and who are depicted in history books. My intent in my classroom is to provide a broad range or art and artists for my students to see and learn about. That being said, I often wonder if the things we study and the artwork in my room are sending a hidden message that this is what I think is art and not allowing my students to be open to other forms of art.
Yes what you hang influences your students. Can they see themselves as artist? Maybe a place for their art. And it is not hard to add a wide range of artists or even artist's books.
DeleteNot everyone is offered the same education..look at how many elementary schools are cutting art teachers because it on now on the general test for elementary teacher.
(ch. 3 response) Katy, I really enjoy the Artrageous with Nate videos. They are very informative and I wish he would do more!!. You may laugh (I am not sure how old you are) but i grew up with Mr. Rogers. There was a portion of the show that would show you how something was made but sometimes that how something was made was art. Look them up on youtube as well.
Delete(ch. 3response) I came across a great article concerning some middle eastern countries taking art out of the curriculum written by Eldon Katter for school arts magazine, November, 2015. I find it really amazing how a relatively new country like America begins its roots in the arts and the people who are pivotal in the creation of it. I applaud their fight to establish arts and crafts a significant player next to fine art in America. Thinking about this article and how true the statement is, “ without art, music, history, and literature we have no record of the human experience.” How different is that experience if it is written through white eyes only? Think about MAKERS if it was written through a different set of eyes other than white?
DeleteThanks Debbie! I'll have to look up the Mister Rogers videos...loved them when I was growing up!!
Delete1. What impressed me? I have always been impressed with basket weaving and this is no different. The amount of work that goes into a piece is amazing. From the preparation of the material to the weaving itself takes such a skilled hand.
ReplyDelete2. What surprised me? I was surprised by the Cubic Coffee Service by Magnussen (pg 120-121). The line on page 121 that states "Maybe its sole function was to propose that silverware design need not be enslaved by historicim" caused me to think. Too often we rely on the past to justify our current or future art. This is a perfect example of how breaking with history opens up a new avenue to travel on!
3. What will I take with me? For me, the message from this chapter is that anything is possible. This time period really began to push the boundaries of what people saw as art. It also saw a huge array of technology and social advances and the use of that technology into art pieces.
4. Thoughts on "discovery" of Native crafts. I don't know why, but the word "discovery" has always bothered me when discussing Native crafts (thank you for putting it in quotes!). I've always felt that these groups have been practicing their art for generations. I know of no other group where that has happened. We often take for granted the history and story-telling that went along with these pieces.
The world is filled with art that has gone "undiscovered" till a famous artist or dress designer decides to copy their work as their own.
DeleteYes, it's really weird how a style may not be appreciated in its time. I was always started the Vermeer's paintings were considered just competent when he executed them. Only after the early efforts to create photographs was his vision understood, for he was using a camera obscure to compose his paintings. Suddenly, his work was being championed by art critics as some of the most important in the history of Western Art. Vermeer did not consider what he was doing as anything significantly different than what other Dutch painters did, but he used a unique process that was not recognized until photography could duplicate the process. His work even has what photographers call "disks of confusion" where spots of light have a halo-like effect.
DeleteFunny how Native American crafts were not anything until the white man said it was? Southwest Pottery was never meant to be commercial. It belonged to the people of the village or pueblo. Pottery was for them.. not necessarily for others on the outside. I love how Nampeyo stood her ground concerning her pay for "performing".
DeleteKaty, if you are ever in Santa Fe, please go see the SAR- School for advanced research of the Indian Arts. IT WILL NOT DISAPPOINT! Vaults filled with baskets, pottery, blankets, crafts and artifacts, etc. It was mindblowing that this quiet little research center has been collecting and cataloging Native American artifacts since 1922. I wish our whole group could go. Should be on everyone's bucket list. You will walk out richer for sure.
DeleteI wish i had known about this treasure when I was in Danta fe a couple of years ago. Gives me a reason to return! That and Santa Fe is an artist haven!
DeleteKaty, I agree about the "discovery" of Native American art. For a people to have inhabited a land for 15,000 years. Have traditions, religion, art, community and history. And then to be almost decimated by white expansion? It motivates me to want to know more of their history. We still are so European in our thinking and our history and what we learn. So sad to me that this was the land of the Native American and yet it wasn't until the 1920's decade that they were allowed to become an American citizen? What arrogance on the part of the whites.
DeleteI also agree with the conundrum of "discovering" Native Crafts. If the First Nations peoples had dominated Europe and appropriated European styles, would we be comfortable saying they had "discovered" it? This falls under the rubric of history being written by the victors. I always was fascinated with American Indian crafts. I had (and I still think I do) this great book that taught young people to emulate many Indian artifacts and ornamentations. THE GOLDEN BOOK OF INDIAN CRAFTS AND LORE W. BEN HUNT, published in 1954. The great thing about it was that it explained some of the ceremonies and practices that the artifacts were used for, that children and young adults could make . I still remember an illustration that showed a Native American warrior in a pit dug in the ground that was covered with dirt-covered hide with a rabbit tethered to the hide. Armed with only a knife, the warrior was waiting for a bear to attack the rabbit where it would fall into the pit and he would kill the bear. I was shocked at the bravery this would require!
ReplyDeleteIt also showed how to dye black tips on white turkey feathers to imitate eagle feathers so the craftsperson could make a full headdress. I could never locate white turkey feathers, so I contented myself with some of the other crafts demonstrated. I made a beading loom and created bracelets, though I realized that I was woefully ignorant of the symbolism of the Zuni, Hopi, and the Iroquois patterns that I found so fascinating. I was really surprised at the designs of the Woodland Indians, which bore no resemblance to the geometric pattens of Plains Indians that were always depicted in Hollywood movies.
So, for one of my projects, I'm going to revive my old interest in beadwork. I have started to look up the technique of "peyote beading." It is off-loom, and is a commonly used stitch for many different jewelry and design applications, resulting in a flat design. Unlike loom beading, it gives sort of herringbone effect so the designs aren't as rectilinear and permit diagonal patterns. It is called the peyote stitch because it is used in religious ceremonies performed by members of the Native American Church. It is also referred to as the "gourd stitch" because it can do odd and even numbers of beads in a row thus allowing it to cover the exterior of a gourd. The stitch is used in other cultures, including ancient Egypt. I am designing a "peyote bag", a small fetish bag that will be worn around the neck. I have decided to use a design that is more in keeping with my religious heritage, not imitating Native American patterns. It will have vertical snakes going around the small fetish bag that are each holding an apple in their mouth to reference the story of the Garden of Eden. I think it will look pretty good and still be somewhat reminiscent of Iroquois patterns. I have found some iridescent beads that aren't shiny, and have the look of Raku pottery, that I think will look pretty subtle. The readings in our text about matte ceramic glazes inspired this approach. Thanks Future!
My father's home decor is native american southwest style. He attempts to find authentic Native American craft to display in his home. All of us in the family chuckle at his home being a "museum". Another one of his hobbies is scouting. He has volunteered his time as a leader of many hats for over 40 years. One boy, in particular, in his Order of the Arrow lodge is part Lacota Indian and crafted for him a war bonnet demonstrating the old way. It is remarkable.
DeleteDavid you only need to do ONE final art project...take your time, enjoy, expand on what you have done in the past.
Delete(Chapter 4) What surprised me? There is soul when something is made with the hands, with love, with spirit. To me, this is why craft is so valuable and difficult to put a price on. Machine made pieces to not have soul. Honoring true craft makes it hard for businesses to survive and make money. Staying true to Ruskin and Morris and crafts truths while flourishing in profits appears to be an oxymoron, Wallace Nutting and many others tried hard to marry craft with business and sadly it has not worked out yet. I am surprised to see how many studio crafts artists or businesses failed due to financial troubles.
ReplyDeleteWhat Impressed me? Wallace Nutting’s early staged interiors was the beginning of home décor magazines and department stores were the first furniture stores. I, also, find it interesting the response to art deco trend. Thomas Craven’s statement, “… shall we throw out of our living quarters those things which reflect and charm and relax….” Reminds me of a term used in interior design “ the traditional home”. Colonial revival even in modern times today is our “ traditional “ home design.
Well said. On art and business. The money making end of things just seems to ruin the heart of it all. So frustrating. Why can't it be easier to be an artist and also have a living? Centuries old conundrum!!
Delete( Chapter 4 Continued )What will I take with me? So far I am beginning to see an America discovering how to swindle its fell man. Not that this hasn’t occurred already since the beginning of time, but pan handlers everywhere. The land of the free and of opportunities to make money.. lots of money- even at the expense of exploiting other cultures. I believe there were some good people who became benefactors to the Native Americans and truly gave their time and heart to help them. I also believe there were a good amount with not so honest intentions. The principles and values that America was founded on are slipping far, far away with opportunities to raise one’s social class- unheard of in many European countries. I value the work done by the early pioneers of the Native American culture. I am a collector of the pottery myself. A few years ago (4), while in the Milicent Rogers Museum , I spotted a large black pot with a bear paw on it. I knew it had to be either Sarafina or her daughter Margaret Tafoya. My father and I are joint venutures in our Native American pottery hobby so we inquired about the pot with the very modest price tag. It was not a signed so therefore, we wanted to have it authenticated before the purchase. A week later with the help of some friends in Santa Fe it was identified as a Sarafina Tafoya pot. We were told the best person to 2nd the authenticity of the pot was Sarafina’s granddaughter Tony Roller. We purchased the pot and it was set to ship within the month. Finding Tony Roller would have to be on another trip as that was our last day. Well, that trip came 2 years later as I was diagnosed with cancer. So, our Sarafina Pot stayed in the vaults at the Museum. (Per my father) In 2015 and just 6 months out of chemo, I was strong enough to make the trip to NM. A much needed recovery therapy. We picked up our Tafoya pot and set out to find Tony Roller. The story is quite magnificent but to spare you a lengthy post, I will keep it short. We did find Tony; she was polishing one of her pots. Well, once a potter begins the polish they will not stop until it is finished so that meant she would not have time to look at our pot. We were very cautious with our actions and intentions as to be respectful. She married an American man who was very friendly and talkative. He was curious, too, about the vessel, so he asked us to bring the pot in. The very second we unwrapped the large pot and set it on the counter in her studio she paused her polishing, glanced at the pot and resumed her hand motions with a stone and said, “that is my grandmother’s pot”. Wow, just like that. Within 5 minutes, she stopped, put her work aside, and wrapped her arms around the pot. She felt all over it and all inside of it and said, “ I feel my grandmother’s spirit in this pot.” I’ll be honest, it made me cry. Well, it would be three hours before we left her studio. Right before we left, she asked me to follow her. She took me back into her home (there was pottery everywhere!) and grabbed my hands. She told me she felt something while talking to me.. sickness and pain and wanted to pray over me in her native tongue in the old way. ( I tried very hard not to look like a cancer patient to avoid the stares and my illness was never brought up) She told me her grandmother was also a medicine woman and she had her intuition. It was a surreal experience- one I will never forget. After she finished, she placed a small round pot in my hands for me to keep. She told me I would heal and become healthy again- she felt it. I think of her often and she would be happy to see me again and how I have prospered health wise. We plan to squeeze in a small trip this year in between semesters with plans to stop and see her. My experience was incredible, surprising, and emotional- I don’t think my father and I spoke the hour’s drive back to our inn. Tears ran down my face the whole way. Oh, the Pot? Well, it was an absolute authentication but she also sent us something in writing with a suggested value- much larger than our purchase price.
ReplyDeleteWhat surprised me was the inclusion of Native American art. I have been talking to my friends this last year who are not from America and they always ask about Native Americans. I tell them they are the forgotten people in America. I was glad to see their influence in the American art culture.
ReplyDeleteWhat continues to impress me is the women that revolutionized the arts and crafts movement. I was also impressed with the artist that could successfully marriage their art and business successfully. I was really disappointed that so many shops have not survived. I want to take a trip when I return to America to surviving shops.
What I will take away is that it’s never too late to start an art career. At 32 I feel that I wasted much of my 20s not giving my art a serious go. But after reading this and many chapters I see many individuals who came late to the arts and where able to have successful careers. I am being more and more drawn to arts and crafts. As much as I love traditional arts I am constantly more drawn to the crafts and look forward to exploring jewelry, and knitting, and other crafts more. Makes me excited to return to America.
Good. Exactly what an art book should do...excite us, move us and motivate us.
DeleteNigel, I kind of said the same think about Native peoples, but I referred to them as the "disappeared". However, I would need to elaborate, they are not disappeared, they are in the blood of Latinos.
DeleteChapter 3
ReplyDelete1. What surprised me about this chapter was opportunities that the Arequipa Sanitorium offered the poor women from San Francisco suffering from tuberculosis to make pottery as a way to earn money and pay for their care. It was successful enough to be self-supporting within a year (91). That is really impressive and I am sure that it restored a sense of dignity for the patients. I also was inspired by the words of O.L. Bachelder on antiurbanism, “is the result of care and simple diet and freedom from habits that prey upon the body…Live each day as fully as possible. Shut worry ways, plan ahead, each year be one year younger, dress as simply as possible, as nearly naked as you can. Let no habit become your master” (94). Good advice.
2. What impressed me most was Robinaeu’s Scarab Vase, the meticulous carving and intricate patterns. I cannot even imagine doing that level of ceramics work, it is absolutely amazing.
3. Reading about Marguerite Zorach’s life experiences and her art, vascillating between tapestry and painting/sculpture, made me think of her full scope of artwork and what was socially accepted into the art world. She made her own wardrobe and almost everything her family wore, that is incredible. I would like to see that wardrobe. I’ve always wanted to dabble in clothes, but I am not necessarily interested in fashion design.
On another note, Colonial revival, makes sense, regarding needlework, as so many vintage patterns have colonial scenes. Even today my mom works off of colonial patterns. My grandmother’s quilt patterns were also sometimes colonial patterns, typically a fair skinned woman in a colonial poufy gown and a hat. It’s okay, we are all colonized.
4. An important point to highlight is how the emphasis on manual labor training in educational reform became instituted in every state and high school. To this day this educational model is still there in many ways. However, by the time Westminister V. Mendez fought intra-racial (not inter-racial) segregation, there was full on racist views on Mexicans as being intellectually retarded (their words not mine) for their mother tongue and being good for a life of manual labor. The superintendent, James Kent, representing one of the districts, wrote a thesis (prior to the case), that essentially reiterated his believes about Mexicans, that they were inferior, generally had poor hygiene, lesser intellectual ability, and this view was pretty much foundational within the district he served and many others. That was the most disturbing thing I learned about that case. Straight out of the Eugenics movement. The schools Mexican students were sent to were disgusting. You can check out some photos here for yourself. The images illuminate the gross disparity in education.
http://www.lib.utexas.edu/photodraw/sanchez/texas_schools.html
I have to say that education was and still is very whitewashed. Just last year, it took a statewide effort to shoot down a “controversial” (racist) Mexican American Studies textbook from being passed by the State Board of Education to make sure that it did not ever see the light of day in a Texas classroom. I honestly think that in college, mostly grad school, we are unlearning what we were taught to think. But I will add that what we learn is beyond formal education in schools, its in media, in cinema, in ads, in the grocery isles. I find myself at crossroads in my education, in Lubbock, frequently.
How we learn, where we learn. Who is allowed to learn and more importantly who is allowed into the history books. As far as the classroom, I love being in the classroom and the work educators do in social justice is so critical now in this political era. Its really hard, but I find strength in like minds, and accept that our work is never done.
Chapter 3 Responses
DeleteTo Diana McCutcheon: regarding your comment in find it difficult to economically survive as an artist, and about the paint chips. I cannot imagine surviving off of my art at all, and I was sad to read that as many of these artists careers were steadying, they tailed off during the depression. That was frustrating, to try to imagine how the craft would have grown. But sometimes the best artwork comes out of times of desperation and strife. Unfortunately. Next time I am at the hardware store, I want to take another look at the names, not that I am more enlightened. They wouldn’t have meant anything to me before this class.
Debbie Caillet: regarding your comment in how art classrooms are expected to look more general ed. I hear you. I hope they never make a standardized test for art. No. No. No. I never taught AP art, never had the opportunity, but it seemed too institutionalized and devoid of identity and culture. That is my opinion. I felt the same about VASE. I taught my class, but I never taught to the standards of VASE. Other teachers I knew would have their students start really early in the year on their VASE project. Their projects were outstanding, don’t get me wrong, but VASE is not what art is about. VASE is the Visual Art Scholastic Event, an art UIL competition held every year by TAEA.
James Brown: I like the idea of school year round. I am speaking of public school. I always thought they should run the school like college. I also think students should go more their pace. Student these days have so many opportunities for college credit, some have even graduated from high school with associates degrees. That is amazing.
Education is never ending...I spent 7 years in Arkansas ( which is not the best school system in anyone's book) and I was taught so much mis information or myths or plain wrong facts. Even after all these years I will run into something that was taught at that time that is so off base I have to laugh, and cry.
DeleteCorina I totally agree about a standardized test for art..the worse possible thing that could happen and I dont even want to think of who would be hired to develop the test!
DeleteI loved year round school when I was in it. I'm sad that it never became bigger in Texas. I was never a fan of teaching for VASE. It was a big deal when I was teaching in my district because we were holding it. I'm never a fan of teaching for these standardized contest.
DeleteWhat surprised me was that Native American artists were gaining long overdue recognition as artists. It was unfortunate that artists like Louisa Keyser were exoticized and exploited.
ReplyDeleteWhat impressed me the most was the stylized designs of Wilhelm Hunt Diederich. I love the shapes and bold simplification.
What I am taking away from this chapter is the appreciation of design, and craft as opposed to “industrial design” (117). I wonder where the craftsmanship went. It seems absent from furniture, and residential architecture. I used to be in drafting, so I know a lot of the time, it’s the draftsperson that designs homes, and not an architect. You just pick what you want and the draftsperson will put it together. Of this is within the confines of the world of my income range.
As far as lower North American native crafts, that is a really good question. I will start with indigenous arts. Northern Mexico, is considered part of the Southwest, including the borderlands on both sides of the line. There are Danzas Aztecas, will full beaded costumes and feathered headdresses worn by both men and women when they perform ceremonial dances and prayers. There is the art of papel picado, cut paper, that has really intricate designs. There is a lot of embroidery, on tunics, dresses, and other domestic articles with bold beautiful floral designs. I am not familiar with any specific architecture, or furniture. I am sure there are Spanish colonial influences as well, which I think would have contributed to the frequently mentioned “Mission style.” The thing about Northern Mexico is there were countless tribes of Amerindians, many were nomadic, and now many are “disappeared.” So its hard to nail down a style particular with a tribe, I can’t even nail down my ancestry for this reason. Chichimecs, Coahuiltecans, Yaqui, Lipan Apache, those are some I may descend from. Colonizers were pretty effective of eradicating them in Northern Mexico, especially the state of Nuevo Leon where my ancestors originate, and later in parts of Texas. My family were the campesinos, laborers, the poor working class that fled violence in the early 1900’s. Some were carpenters, but I don’t know of anything that they created with their own two hands, but their humble homes.
“Discovery” of native crafts. This was while their children were being ripped away from their families and send to boarding schools to strip them of their culture. “Kill the Indian, save the man.”
I am not sure if any of the various tribes/nations of Native Americans would even call their work craft or art...I have always held there is the possibility of use or function, spirit or design, harmony or beauty.
DeleteGrowing up I had always really enjoyed reading and watching western themed stories. I would seek both fiction and nonfiction works. I loved playing Cowboys and Indians and usually wanted to be the Indian. In my first college American history class I had to pick a book to read and write a report about. I chose “Farewell, My Nation The American Indian and the United States, 1820- 1890”. The book explored the policies of separation, concentration and Americanization, and, even though it was a fairly matter of fact account, giving a wide variety of accounts and viewpoints, the book was utterly demoralizing to read. I still watch westerns, enjoy Charles Russell artwork and go to see “native” artwork exhibits, but there is always a sobering spirit haunting my mind when I do so. I think that for me it would have been a difficult decision to include Native American crafts within this book, not because they are not American crafts, but because of the circumstances involved. However, I think ultimately it is a positive inclusion, which helps to both validate the crafts as being a critical part of the American craft experience and to raise awareness to how human injustice can haunt even the world of art.
DeleteFirst of all, I will say that the most enjoyable segment of the book was the Native American segment. Probably because it coincides with some personal research. I was adopted and not given much bio info as a child. It was only a year ago that I found out that I was 6.25% Native American. So, I had a great great grandparent that was fully Native American. I had recently looked at some further DNA testing, to see if I could identify with a specific tribe. I would be very interested in doing this. I had been doing some reading about the tribes and some ancient history on my own, so this segment really interested me. I find that I have such mixed feelings when i think about this being a part of my heritage. Sadness that I was "lost" to any tribal connections. And sadness in how they were treated by my other European ancestors.
ReplyDeleteI think that my mixed feelings also flow over into a response to the reading. Pride in the ancient crafts and traditions, and glad for the art to be celebrated and recognized. Sadness for exploitation. Again, I love art and craft, but have never been business Davy. And I don't know that the two can really coexist. I'm happy for an artist when they do experience some income and celebration for their work. But I feel that in the Native American segment, most were more exploited than celebrated. With a few exceptions. I do look forward to finding out more about my own unique heritage, and connecting with it.
What surprised me? To find out more about the Art Deco movement and how it truly came about. This was something kind of glossed over in my earlier art history courses. And I'm truly glad to have a better understanding of how it came about and what it was about. I loved the graphic screens that were done by Donald Deskey and the story of Rose Iron works and the beautiful work done by Paul Fever.
Also I was surprised by the furniture design by Louis Rorimer, p.117, it looks like my current furniture in my art studio. Not the chair. But everything else.
What impressed me? The timeline of this decade! So many things happening at once. So many changes and inventions and the Wild gay times of the era! It just seems like such an exciting time, until of course the crash and depression and war! My mom is 79. And she remembers the war because her dad was the superintendent of an aircraft building facility in Alabama that made the Bombers for the war. She was talking today at lunch, how so much has changed in her lifetime. I know this is skipping ahead a decade, but it just made me think about time and change. And where we are now as compared to the 1920's. in some ways I relate to this decade because so much is happening and it seems so fast. And it is super fast now. And yet we still want to create with our hands. In fact, I think we have a need to do this. We are not so genetically changed, yet... to not have this need in our lives.
What will I take away with me? I think that this chapter has impressed me to be more true to who i am. That regardless of what decade I live in, or what mediums I work in, or whether I am ever "known" or "unknown" as an artist, that the important thing is to be true to who i am. I'm still learning who I am. And also learning more about art, and how I fit into that larger picture. I agree that I will always need a day job to support my art making habit. But what a wonderful habit to have. I do feel sometimes as though I am having to make up for "lost" time as an artist. But I can move forward from here and give myself permission to create.
Good response. Time is just a number.
DeleteI was both surprised and impressed that department stores were an outlet to the craft market. The sentence on p. 108 made me wonder whether those crafts tended to be local or of an interstate variety. Later, it mentions that Saks also carried some craft items. It would be interesting to see local craft items in stores like Hobby Lobby and Walmart. It would be curious to learn more about how the commerce of the craft-work was structured. I'm not sure about back then, but I figure department stores now days would not be very generous when working with local artists.
ReplyDeleteI was already somewhat familiar with Martinez black on black ware, but was surprised to read about how the work started and continued to develop. I like how their craft sensibilities took over and led the Martinezes to create a variey of forms. P.113
I am taking away a positive feeling about the continued character of many American craft workers. Atwater seemed like a fascination personality. I was drawn to both her creative utilization of traditional weaving and her desire to benefit others with those skills. I also admired Poor's decision to stick to his artistic craft-work and forego a factory style business, which would have altered his production ideals.
I think the relationship between maker and seller will continue to haunt the art world. There is a myth that if you sell you have some how "sold out", yet if you teach you somehow are seen as not good enough to sell. The myth is based on the assumption that artist works in a lonely studio and sacrifice everything for their art.I believe this myth makes for good movies and keeps art history lively.
DeleteDoes that ever hit the mark! I find myself wanting to sell and then not wanting to sell. It is very difficult for me to let go of what i have poured my heart and life into.
DeleteI've learned to never announce that I feel better because I end up getting sick again. Spring Break consisted of Dr. appointments and breathing treatment! D:< I didn't get a chance to work on my Cajòn like I wanted because I could barely breath! I did get a chance to record myself play a freestyle (sloppily) on my set. First time I got a chance to play in about a week because otherwise I was gonna die, haha!
ReplyDeleteMy favorite artwork (more of a sketch/plan) is the Bowknot overshot draft and pattern by Mary Miegs Atwater. Page 125. It looks very rhythmic and even after reading about the artist and process of textiles feels so magical. the process seems very lulling in how repetitive and accurate your movements are, but the design itself seemed chaotic and full of movement. The idea of a weaving cookbook was pretty interesting too. At first I thought of the kinda kitsch-y quilting books and things you see at Hobby Lobby, but then they talked about material as ingredients and the steps are just part of a recipe and I feel like I got it. It would be interesting to see how people deviated from the recipe and maybe this cookbook idea could be a way to write lessons so principals understand? I like the accessible parallel.
Something that surprised me was how I felt about the art-deco pieces. In my mind, when I hear art deco the first thing to come to mind is those De Stilj chairs by Gerrit Rietveld. Which isn't even American or part of the Deco from what I know. It was kinda tossed into my summer Art History Survey class so I remember very little of it. The metal work and jewelry is incredible! Some of it is a little garish in my opinion, but there is nor arguing the craftsmanship is amazing.
On page 117, I think the design of the furniture is cool, because the work really ties the harsh angles of the tables and chair and soft curves of the sculptures and paintings very well. The print on the chair itself is hard to decide on because I the color could make or break it, haha.
Native Craft and Art feels very disconnected to the rest of the academic art world from my experience in school. It always seems to be classified more humanities/social studies based than appreciation of material, design, and function. I think Texas Tech's Museum is doing a good job of changing this perception in some aspects. All of the ceramic works on display (I believe they are Story Teller sculptures?) are on display next to videos of the artists who explain their function and importance in their culture. However, they also have a lot of African Art and Native American weavings and I have never bothered to ask how they became in their possession. I think that a collection of work from a specific societal group has positives and negatives and is really based on how the work is treated (on display/used appropriately/etc.) If the work is purchased from actual natives or are they stolen artifacts that have been reintroduced into museums through traders.
https://www.youtube.com/watch?v=JdyPUwCPe3E&feature=youtu.be
The African collection is from a private collection so there is it was purchased at sometime by the original owner. Much like the Pottery collection. Given as a whole collection.
DeleteYou are correct, most art history and especially at TTU, Native American arts are a side show or a side note on Taos/Santa Fe. It really does deserve a great respect. Check out the Heard Museum in Phoenix. There are places where it is done right.
Keep allowing yourself to be surprised.
I love to “discover” new artwork; of course, I have never actually discovered (on a global or social level) any new art, but in a personal context, it is meaningful. I think that if I look at the issue of discovering Native American craft-work in a similar context, the term has value. Native cultures were not widely appreciated within American society for a very long time. A new generation “discovering” the achievements of populations that had been nearly decimated is certainty a positive occurrence. It will not undue the years of mistreatment, but I think that it helped build bridges of understanding and appreciation that in many ways benefited both the Native and American cultures. If the term is taken to mean that a dominant society achieved something by subjugating Native Americans and usurping their cultural and artistic achievements, then I do not find the use of “discovering” valid or meaningful. The section, p.110, about how the Cohns built grand stories around Keyser's baskets reminds me of how many wild west figures, places and occurrences were exploited by Americans skewing and romanticizing them. When I learned about this as a boy, it affected me quite a bit. I was never able to read about or watch a western themed story with confidence. I would notice things that I knew were portrayed questionably or down right disrespectfully and had to deal with that reality. When I look at Native American art displays, many of the same questions and concerns creep into my mind and it is nice when the work is responsibly presented.
ReplyDeleteGreat insight. Outsider, Visionary or Intuitive art are examples of works that have been noticed from time to time. Keep looking...there is a whole world out there making art we just have to look, and accept without the rules we have been taught or maybe we have taught.
DeleteReading about the Meaders family struck a chord with me. I was curious about the Smithsonian film that is mentioned on p. 139 and looked it up. It is available on their website for a fee... so I went to Youtube and looked them up and found a few videos. Learning a bit more about the family and seeing some of the history of their work was interesting. Their pottery, especially the face jugs reminds me of the work of Dave Drake, who is also mentioned in the reading. Dave, born in slavery, was a skilled potter from South Carolina. I introduce the artist using the book “Dave the Potter: Artist, Poet, Slave” by Laban Hill and Bryan Collier. His story and works are very inspirational and a great way to kick off pottery instruction for younger students.
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