Well, we only have three chapters left. Always bittersweet for me because I love how this book opens up history and celebrates forgotten artists. I hope your art project are going well...if you are having trouble or have had some roadblocks write me at my TTU email and just let me know what is going on or what you want to change. Remember you will need to write a short essay on your work...telling us the why and the how. And Pictures!
As we get closer to our own time there is more information available and more opinions. Everything seems to explode. Limits are pushed and concepts are developed.
A bit of correction. In the "Dinner Party" over 1000 different volunteers worked on various aspect of the piece. Not just 300 on the clay part. With that in mind for your extra question describe YOUR place setting using any artist we have studied including the chair.
Enjoy.
Chapter 3 Response.
ReplyDeleteColonial revival was a surprise. Post World War I would not be the time I expect a return to traditional elitist artistic expression in the everyday. In fact I would expect the exact opposite to happen, a simplicity of existence taking hold, because of the lack of resources and their depletion in the time of war. However, it does make sense within the context of the Philadelphia Centennial exposition. The other surprise for me was the opening of the first birth control clinic in 1916 by Margaret Sagner. My understanding was that birth control was not freely available in the US until the 1960’s.
The sisters of the Overbeck pottery studio and their ways are the take away from this chapter for me. In my eyes in the way they approach pottery making is breaking social taboos of the time. These women base their lives around making art and not children and family. Men were the ones who were expected to work at the time and create art of any substance which is beyond decorating pots, but reaches into creating new form, pushing the boundaries of color, and creating something new. When women do this it is unexpected, especially in the time of the Overbeck sisters.
In our time the revolutionary breakthroughs of the past have become established norms to challenge. Since I am currently involved in ceramics-making, I will speak ceramic-talk. The visual language of the Overbeck sisters, and even Don Reitz and Peter Vaulkus, is the established norm to be transcended and trespassed.
Response to Diana's post for Chapter 3.
ReplyDeleteThe idea of the way we relate to art if it is outside of our personal visual vocabulary is fascinating. The way you relate to the work of Overbeck Pottery sisters as American or authentic is intriguing to me. I do not think American or authentic when I encounter their pieces, I think Art Nouveau, I think the feminine response to the masculine.
Response to James's post for Chapter 3.
ReplyDeleteThere is an interesting read on WWI called "Paris 1919". I had heard about the book back in Canada when I was listening to CBC radio, which is the Canadian version of NPR. James, your response made me think of how everything is connected in the world. Political events create history, which affects our identity and the way we create. WWI turned the world upside down, which was mirrored in the art upheaval.
Chapter 4 Response.
ReplyDeleteWhat surprised me is that Asians were declared ineligible for citizenship during this time period. It makes sense to me within the context of WWII, but this time precedes it. In my mind it does not make these policies right.
What impressed me is a simple idea of Jazz influencing all areas of life including decorating.
What I am taking away from this putting T.S. Eliot’s “The Wasteland” into context. I had read the work back in Canada during an undergrad, and appreciate it very much. “This is the way the world ends, Not with a bang, but with a whisper”.
Creation of Mickey Mouse, Mein Kampf, and the first talking movie have me thinking about the continued path toward national identities at the time. Mickey Mouse and Disney is a big step toward creating Americanism and the American identity, Mein Kampf is a step, a scary one, but still a step toward building the German identity during the time of Hitler, which eventually led to WWII. The making of movies is another piece of the puzzle that would become the American identity with the creation of Hollywood later on.
On the influence of “discovery” of Native crafts was to show that Native Americans were not “primitive” and the influence of the collectors was official recognition of Native crafts and allowed them to gain a place in the art scene.
What is respectful in the context of Native crafts? The answer to that question is complex, from recognizing their value within their context to appreciating their influence in the art world as the beautiful object.
What is necessary to make a living making at craft? A strong consistent work ethic, marketing via social media, an awareness of the art market, as well as supply and demand, originality of the artistic work, are all good steps toward making a living at crafts making.
Chapter 4. Response to Katy's post.
ReplyDeleteThe notion of "discovery" of Native American crafts is definitely a question of power. It brings into question what had been accomplished in the realm of Native American craft production. From one perspective the collection of Native crafts give these works a formal recognition as works of art, from another point of view they exploit the craftsman. The latter is the case with Louisa Keyser (p. 110), whose work was taken from her in exchange for housing, food, clothing, and medical care.
Chapter 4. Response to David's post.
ReplyDeleteIt is interesting, the way Native American craft is depicted in Hollywood. Why do we respond so eagerly to an exotic romanticism that is so fake? Most of these objects were for practical/ceremonial use with a sense of aesthetic which is different from a Eurocentric Anglo-Saxon artistic aesthetic.
Chapter 5.
ReplyDeleteWhat surprised me is the entire Machine Art movement and the idea of displaying laboratory equipment and industrial fittings as works of art (p.152). It is an interesting twist on the idea that everything is art, and art is everything, factory work is art. It is also in direct challenging dialogue with the crafts movement, and the art object as being something that has been touched by hand. I suppose it does not come out of nothing, considering innovation of Marcel Duchamp’s The Fountain, the Industrial Revolution, WWI, all of the decades past, and the dawn of WWII. Another surprise is the questioning of wheel-thrown work as machine-made (p. 159) in the context of the New York Ceramics Society and Grotell’s work.
What impressed me was the extent of the international crafts influence on American craft of the time, from Bauhaus to potters like Wieseltier working in Vienna. I also find it impressive that these artists did not shy away from architectural commissions. The machine art perhaps aided in the merge between the different media, with the artist at the center as the creative force whether it be clay, or bronze, or architecture, or fashion, with the production of women’s accessories or design of domestic objects like dinnerware to be later produced via the manufacturing process.
What I take away from here are Victor Schrekengost’s Jazz Bowls. I am planning to attempt his decoration technique and glazing on some of my future work.
On the presence of the human figure in today’s craft/art within the context of this chapter I would say it is important. I think of Waylande Gregory and his seductive female figures portrait busts (p. 153), and virtually all the other ceramic artists following suit with figurative work, with subject matter ranging from political commentary on current events or social commentary of Schrekengost to Winter’s mythical figurines.
Chapter 5. Response to James' post.
ReplyDelete"Any complexity of the form should be dictated by the function of the object" is a concept that makes me think of "aesthetics of the object should be dictated by the function of the object". The latter is what I had heard throughout my undergrad from my favorite "sculpture" teacher, who did not really teach sculpture, but how to ask the questions as an artist.
both of these saying could be considered following the Baushaus theory that form follows function which begs to question what is the function of a piece of religious work
DeleteI agree that this was the philosophy of the Bauhaus movement. The real point of an art education is to learn to solve problems. This is not dictated by function in all cases, nut design has not always been at its best when ornamentation swallows function almost completely. I think that's why Asian art was so influential because, except for societal conventions, elegantly simple solutions to problems were expected.
DeleteChapter 5. Response to Diana's post.
ReplyDeleteI think the presence of the representation of the human body is about identity and one's relationship to the community, since craft is so closely related to the communities in which we live. I would not categorize Kiki Smith with the crafts movement, but what you are saying about her work is very interesting. She kind of goes the opposite direction and deconstructs the human body down to the cellular level.
There is a quote by M. C. Richards, p. 313, of what Peter Voulkos one told her. I found the sentence intriguing and it makes me think of my own experiences. Voulkos told Richards “... to work with the clay till it collapses, that there's nothing to it, that if pots weren't breakable potters would be sunk, that there's lots more where these come from.” As an artist and art teacher, I feel that the act and result of personal creation is precious and powerful. I rarely destroy, or recycle any of my artworks, even if I'm not overly happy with them, seeing the work as a benchmark and goalpost of sorts. I try to teach my students to resist the urge to erase, or restart, and encourage them to work through their artistic struggles. I want them to believe that there is nothing more important than what they are striving for, but to understand that every step of their process is a means and opportunity for discovery. I was surprised that the quote caught my attention as strongly as it did and that it helped me clarify my personal practice. I think such thoughts pair well with Krenov's idea on p.372 that “To do something we enjoy is to know ourselves.”
ReplyDeleteI was impressed by the trompe-l'oeil works of Marilyn Levine. They were something that I hadn't expected to see included within the craft text. I admire the skill and interest that she gives to everyday objects. I follow an artist on Instagram named Peter Glenn Oakley who creates similar sculptures in marble. I was also caught off guard by Mary Ann Sherr's body monitoring jewelry. The Heart-Pulse, p.336, reminded me of the Fitbit that is so popular now. It was good to see more art from Wendell Castle, p.370. His works have a skill and depth that I find fascinating. Also, Helen Hernmarck is a magician.
Interesting..my favorite art teacher, Jim Henderson, from high school taught us to throw on a wheel by insisting that the first time we actually had a piece, thin enough and tall enough we had to cut it in half with a wire 1. to make sure it was thin though out and 2. to keep us from falling in love with it. It was a hard lesson but one I have kept all these years. To honor my work but not to worship it.
DeleteI like your way..it seems kinder.
Saw a show of Marilyn Levine long ago...I think she was included because she was a woman working in a craft dominated by men and she did something no one else was doing.
I generally fall in love with my work. Maybe that's why the unpredictability of clay never made me a fan. I always worked so hard to learn skills because I was largely self-taught. I certainly had failures, but I always tried to resurrect them. There weren't many times things were totally destroyed, though they didn't live up to my expectations. Most people saw my resurrected pieces as successes. You couldn't do that with clay w/o "cheating." Cheating meant using acrylic paints on fired work, gluing parts broken off, epoxying cracks in bases of pots so they would still hold liquids, or going multi-media to add materials to failed ceramic pieces which was supposed to make them look purposeful. Ceramics could surprise you by turning out much better or much worse than you predicted. But it is innately unpredictable. I struggle with that.
DeleteI'm taking away a new curiosity of how craft might be applied to an even greater array of objects in my world. The idea on p.343 that “... art could and should delight and invite active participation” is in tune with my particular notion of craft. Sherr's prophetic monitors, Ken Cory's ludicrous (in a good way) tape measure case and Kindton's toys all stir my imagination. Many years ago, I made a clay bust sculpture that had inset glass marbles for eyes. The eyes could be taken out and slid down the back side of the bust, as a game of sorts. I have been kicking around ideas of how to incorporate a more direct participation into my art. I think that's what bought me back to pottery after many years of painting and sculpture. The idea of having others use and enjoy my creations on an aesthetic and functional level is exciting to me. I am fundamentally endeared to traditional forms and functions, but know that as an contemporary artist, I will need a continued avenue for change. Although I don't exactly agree with his decree, I do admire the spirit of Seppa's belief that traditional forms are in some respects exhausted. I think that such a mantra would serve a contemporary, knowledgeable craft worker well, driving them towards continued experimentation and innovation.
ReplyDeleteWhat does your dinner party look like?
DeleteThis comment has been removed by the author.
DeleteFor dinner, I would like Ruskin to head my table for he could keep us true and focused on humanizing our creations. Arthur Wesley Dow would set our agenda and have us arrange and rearrange our place settings to achieve beauty. The Martinez family would be there to center our wares and burnish our souls. Our table would be braced by Wendell Castle, and he will be our party timekeeper to ensure the evening is timeless. Helen Hernmarck will transform the four dinning room walls to windows into the world. After, exhausting our meal and conversation, Sam Kramer will pin jovial adornments upon everyone, sending us dreaming of our creative future. These would be our welcome party, and with luck many of the wonderful artists in this book would stop by. Having so many distinct personalities and perspectives would make a most inspirational night. It's unfortunate that many of these artists are separated by great time and distance, but having written, photographic and even some video documentation of their histories, techniques and philosophies is a real treasure.
DeleteI want to be invited!
DeleteCertainly!
DeleteCount me in if Wendell castle's furniture is there. Ruskin plus James McNeill Whistler would make a memorable dinner, since Whistler sued Ruskin over a critical review of his painting "Falling Rocket."
Deletei was surprised by Mary Ann Scherrr's jewelry (pg335-336). She was the original Fitbit creator!! I would much rather have one of her pieces instead of my current Fitbit. The detail that she was able to achieve through etching stainless steel was incredible. I also love the fact that she embraced technology and combined that with her art.
ReplyDeleteI have always been impressed with the glass work that Dale Chihuly has done. Last year, I had the opportunity to visit the Chihuly Museum in Florida. It was amazing! The sheer size of his art pieces is unbelieveable. When I came back to class we did an entire unit on Chihuly. My students were equally impressed.
One of my take always (there were a few) from this chapter was on page 312, when Daley said, "the hands inform the mind, not the other way around. Process has always been my trigger; understanding for me comes from doing and redoing." That stuck with me because it's how I learn as well. This year I've started experimenting with glass fusing and it has been a lot of doing and redoing. From that, I have learned an awful lot!
As for the dinner party question, I've gone through this chapter a few times and haven't been able to find this, can you point me to the page??
Page 312 in the gray box
DeleteChapter 8
ReplyDeleteI was blown away by Claire Zeisler’s textile piece, Red Review. As I turned the page, I gasped at the amazing regal form. This piece completely blew my mind as to the potential of fiber arts. To see a fiber in 3D form was impressive.
The work and philosophy of Charles Loloma was culturally significant because he, along with the Institution of American Indian Arts were resisting Anglo-sanctioned styles. I think this philosophy enables and nurtures the creative freedom of artists.
When I read about the enamel mural that Ellamarie Woolley and her husband Jackson Woolley created, I am inspired to think of murals beyond traditional paint. Although I love the idea of working in historical methods such as buon fresco, I feel a bit more liberated.
of all the idealistic movements which speaks to you and your life?
What spoke to me and my life is the work of Arline M. Fisch, such as Body Ornament. Reading about how she made it a point to not trespass on cultural ownership, makes me have so much respect for her. I think this is critically relevant even today because many traditional cultural art forms are commercially appropriated.
Responses
Dave Mesple: I was also moved Zeisler’s fiber art. I also find myself being opened to unconventional uses of craft mediums as well as using unconventional items for craft. My mom, all her life has collected craft magazines, and now reading about the relations of macramé to craft has opened my mind in so many ways. I don’t think I’ll be doing macramé though.
A number of years ago we had a visiting artist Michael Kobote. He talked about the right to use both his traditional ways and images and his right to expand and explore.
DeleteMy son and I had the pleasure of working with contemporary Maori artist Rangi Kipa. (http://www.rangikipa.com). Range took traditional Maori crafts and used the techniques on very contemporary materials. He carves whale bone as well as resins and corona. My son helped him assemble and re-engineer his Radiate Whare (traditional Maori meeting house) as an autobiographical statement about identity and place, at the Denver Museum of Contemporary Art. After 3 weeks of work, Rangi gifted my son with a traditional, and original Maori Moko (tattoo) on his right shoulder, shoulder blade, and bicep that wraps around these parts of his body. It's the best tattoo I have ever seen and one style I could live with because it's a reflection of 1,000 years of tradition and not the usual flash art in tattoo parlors.
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