This chapter documents the tsunami that hit crafts in the 1950's...hold on and enjoy.
Hope all your projects are going well and that you are having fun being able to try something new or returning to something you left behind. Remember I am more interested in your attempt/the process and what you have to say about your journey than I am about the end product.
My extra question is this: image yourself in class with Voulkos, Asawa, Nakashima or any of the artists in this chapter how would you have reacted.
(Chapter 6) So much about this chapter surprised, impressed me and it definitely will stay with me.
ReplyDeleteWhat impressed me? Foundation courses and abstraction exercises-this portion of the chapter completely describes the beginning stages of art education today. In 1949, the establishment of the NAEA and that all media is recognized as art. Here arts and crafts are as important as fine art. I was amazed with certain people of wealth and their outlook on life with their blessing. SAC found importance in developing a 4yr college degree with intent on educating teachers. WOW!
What surprised me? The first MFA in 1942, pg. 182, for starters, I assumed MFA’s in art were already created. It is my goal to obtain a MFA but working full time makes that a little difficult. Recently, with the creation of hybrid degrees, I am able to achieve my goals. There are two hybrid MFA programs in the US and hopefully there will be more. Times have really progressed in the last 75 years.
Jewelry really took off during this time- a lot of freedom, geometric shapes, and interesting materials. Francisco Rebajes sort of reminded of the current day Kendra Scott. So many changes with jewelry such as in the late 1940’s and early 1950’s some jewelry pieces were mini sculptures/works of art. I have a Miriam Haskell signed faux pearl 3 strand necklace from my great grandmother. Years ago, when I first possessed it, I really didn’t care for it much but today vintage is in and I wear it with pride. I love it. I was intrigued reading about Ed Weiner, Sam Kramer and Art Smith’s (pgs. 189-190) jewelry designs that I google imaged them. I was taken back with how stunning, beautiful, relevant, and timeless these designs were. Honestly, I would love to acquire a cuff bracelet or earrings one day for myself.
What will I take with me? Russell Wrights vision of the future, pg. 184. How WWII really changed the world in so many facets. James Prestini’s designs in wood truly are before their time. I am beginning to see a correlation with the modern designs of the 40’s and of today.
How important is the user to what you make? I feel the user is of importance to some extent. Personally, I believe the importance is in the love affair between the artist and the medium.
How much do you need a community of makers in order to create? Initially we create on our own but feel we seek others within our field to become better and stronger makers. Community strengthens the knowledge of the maker by sharing and working ideas with each other. It creates a sense of belonging and safety to explore and communicate.
Is it important to extend the title of an artist/maker with cultural heritage information? In certain instances it might be beneficial to promote the art and I know that people today like the “back story” but I do not feel it is important to do so.
Sometimes the community of creators can be found around a table having coffee and sharing.
DeleteCultural history is important because art history is white washed.
(week 5 response) Maryanne, I, too, feel google searches have their place in the classroom but support your comment that they ruin projects in the art classroom. My perspective concerning Pinterest and google is that students are too quick to refer to one of these search engines rather than trust in their own creativity. Once the images are there in their head it is hard for the student to be original or really push and dive into deeper creativity
ReplyDeleteJust a note...Maryanne is really David..he is using his wife's address for this class
DeleteWhy did I know that and not remember? lol
Delete( Week 5 response) James, it would be interesting to see how you could incorporate the figure into your abstract geometric ideas. I’ve seen your work and you are extremely talented in the human figure arena and how you push the boundaries of normal representation. Just and idea :)
ReplyDeleteDebbie, that's actually what I did in 2015. I made a series of paintings that incorporated figures imposed with geometric patterns. The patterns were somewhat grid-like and interrupted the figures space. Then I made a two painting where the figures were much smaller and merely in the geometric designs spatial planes. Finally, last summer I broke from the figures and have been working on formal abstract compositions. I haven't said goodbye to figurative works, but I've been enjoying the change of pace.
Delete(week 5 response) This was a beautiful chapter showing me the foundation of art education. I can see it unfold especially on pg. 149-150. “a college education was assumed to qualify the graduate to become a teacher or a designer, not a laborer. Although industry did not feel a deeper knowledge would benefit the artist/designer we know today success is almost dependent on a college degree in the arts.
ReplyDelete( week 6 response) “Sandy” Calder and his love affair with wire..as a child he would create little wire carts and harness them to large bugs and have races with his sister. Another interesting fact about Calder is that he was a jovial happy artist throughout his life. His grandchildren have the fondest memories of him. He truly loved making art. I wish I had the same attitude in my life about art. I am more of a frustrated artist. Calder had such a mechanical mind with a sense of humor and wonder-something I wish to instill in all my students.
ReplyDeleteMakers: Chapter 2, Catching up.
ReplyDeleteWilliam Morris, p. 39, is quoted saying: “Apart from the desire to produce beautiful things, the leading passion of my life has been and is hatred of modern civilization”. What jarred the American society to the point that the human beings felt the urge to push back by making beautiful things? The stress of the new rushed life? The new idea of getting your children to the kindergarten on time so that one can go to work for fifteen cents an hour at the textile factory? Perhaps the human connection of sitting in a knitting circle or a quilting group talking, the impersonal work environment that lacked unions and regulation of work hours was the soul killer of the American human being. Ten million Americans were immigrants and also worked factory jobs, so it comes as no surprise that the working class and the immigrant population would be major participants in the growth of the arts and crafts movement. It is a push toward keeping what was important to people at the time and is still important today, the sense of connectedness, the feeling of being held in the loving arms of the community, the recognition of one’s individuality, and a push again the facelessness of the fast-paced, mechanized, sterilized American life post-Industrial Revolution. What better way to bring back the humanity than to return to the use of the human hand, the loving touch that embroiders values the immigrants brought with them: “Home is Where the Heart Is”. Craft is a push to keep the most valued things, like saving the most valued possessions during a fire, which are your family, your community, and the deep, personal connection and a dialogue between the generations.
Interesting larger view of history but arge generalizations without reference. Kindergarten was not introduced to the United States until 1926, later than this chapter. When responding to these readings use "I " language...what do you think about the art work/the craft history/the stories from the artists. Although the beginning of each chapter gives a brief history for this class it is important to focus on crafts...for too many years a way of creating that has been erased or overlooked or romanticized.
DeleteI understand having an aversion to modern culture. I always think I'd have been happiest in the Renaissance. But I'd want to take soap, deodorant, and some antibiotics!
DeleteMy take on William Morris' disillusionment is that what really bothered him was the commercialization of things and the loss of an aesthetic sensibility from people who were persuaded to adopt styles based on what they thought everyone else wanted. The dilemma of handwork is that it may not be very profitable even if it is honorable. When governments reward handwork like in the WPA days, there is honor in what one makes that can be proven by the ability to live off of that work. With industrialization, profits increase when the pace of production increases. Unfortunately, this either means mechanization or farming work out to poor countries with low standards of living.
I love books. I love creating books. I have a pretty decent library of art books in my classroom that I have been collecting for 20 years. I enjoy reading my little people stories of artists and they particularly love listening to them. I was at my desk today taking a brain brake afterschool just staring into my library of books and I thought… where are all the children’s books about craft artists? I have about 2.. something I might look into and possibly be on board to write one in the future.
DeleteKeep looking, stop dividing it by craft or art, look at books by other nations and artist you have not heard of.
DeleteChapter 2: A response to James Brown's post.
ReplyDeleteFrank Lloyd Wright has been my personal favorite since high school. I appreciate the beauty found in the simplicity of forms that he uses, and yes, the inclusion of him in the book is surprising.
James, I find an "introspective quiet mind, which may seem idle" ties into our discussion on the Art of Stillness. I went to a talk by Kim John Payne a few years ago in Canada, a leading parenting expert. Kim mentioned that one does not need to entertain
their children, boredom is a good thing. I feel that we need to come back to that simplicity of being in our minds, in educating children, and in our own adult lives. A still mind produces brilliant ideas and a rare clarity or thought.
Chapter 2: A response to Andrew Hernandez' post.
ReplyDeleteGeorge Ohr was not mad... in my opinion... Although he called himself the Mad Potter, he was definitely a revolutionary in the world of ceramics. Sadly his breakthrough "mad" ideas were not recognized until long after his death, and his influence became apparent with time. You may like a film that outlines the history of American Ceramics called Revolutions of the Wheel.
Mad was a marketing trick.
Delete"Crazy like a fox" would be more accurate.
DeleteI was surprised by the Otis gang. Voulkos seemed to be purposefully breaking away from the heart of the original craft movement. His words and ideas are very modern and his tea cup bashing, p. 224, seems to exemplify the matter well. However, reading about the communities achievements, perhaps he was actually not so much rebelling against tradition, as trying to rescue ceramic craft from a slow death. Putting a more academic and blatantly artistic spin on creative clay use, seemed to help make a place for it within the more developed world of academic art, as was enjoyed by painting and sculpture. On p. 244, in the enameling section, there was a sentence that I think addresses my idea: “Teachers and professionals in the enameling field had to distinguish their work from the volumes of hobby work.”
ReplyDeleteHarrison McIntosh's work, p. 233, made a great impression upon me. I really enjoy the sharp forms and varied patterns of his creations. I was able to find many images and some online information about him. I was sad to see that he died in 2016. Despite having glaucoma he worked until age 91, and he lived to be 101. I think his work is a prime example of how a teacup can be more than just a teacup. I am able to look at his pottery forms and see handicraft, functionality, Primitivism, Modernism, and a rich artistic vision: art and craft fully embraced.
Further along, p. 249, I found what I'm taking from this chapter in a quote by Makashima, “One who makes things in wood, adopting an approach that seeks to integrate both art and craft.” this ties into my thoughts about McIntosh and really speaks to my beliefs about art and craft-work. I think that what makes craft so exciting is that it is alive with history, true with functionality, and transcendent with creativity. This chapter really seemed to solidify these beliefs for me.
That is true, I didn't think about that, Voulko's bringing ceramics into fine art. I forget that some art, such as photography, wasn't accepted as a fine art in the art world at some point.
DeleteIn many ways this is the beginning of the war of art vs craft. I think Voulkos just made things that he had to make because they haunted him...like all of us make work. It is history that adds the titles and sees the impact. For me I am both impressed by and challenged by the art around me...I want to do "that something" different/better than what I see.
DeleteWhat happens when we do not have to divide the work into art or craft?
I actually think that the "art" label has be spread so thin that the division you asked about may ave become moot. But in the period we are studying, the divisions were driven with fervor. When I was accepted into the Masters program at Cal State, there were no illustrators amongst the faculty. They had been summarily ejected and put into the Journalism department. Many of us students were anxious to learn the skill sets of these Illustrators, but it was like crossing a barrier, with all of the social ramifications, to seek these people out. We even took engineering classes to learn how to cast and fabricate large metal works. And it made some art professors really mad.
DeleteI have 2 thoughts on the future pertaining to your question, Futire: One is that the division between art and craft (and probably a lot more) will erode completely, or art will be divided into 2 categories. Contemporary Art will become what I might call "experiential linguistics" and more handwork forms of creativity will recoup the "art" title. But I am an unreliable witness in this matter.
And the very schools that cast out illustration now have animation! Art historian / some critics have labels and boxes , as an artist I only think about it when I enter a show or describe my work for show.
DeleteI think that eliminating the divide between Arts/ Crafts is a powerful path to follow. Thoughts of dignity and collaboration spring to mind. Especially in an grade school educational setting, I feel that teaching both as facets of the same powerful means of creative expression will only build more rounded artists and impact a greater array of individuals.
DeleteChpt. 7
ReplyDeleteI was surprised with MOMA and other museums how they pushed modern design. But like the critics of the time I do wander in their agenda did they forget about construction and function. What they did helped revitalize crafts and helped pushed production in America. What I have noticed with modern design like it said on pg. 215 is that much of it looks repetitive and was more for eye appeal.
I was impressed with Mcintosh’s designs. His ceramics have this amazing organic quality to them. I also looked at more of Ruth Asawa’s wire creation and they remind me of bird nest. They have such a organic quality and remind me of Maya Weaver birds nest.
I think I going to take away the ideas of experimentation, trying different things and applications. Not just in the area of art I want to pursue but, also trying my hands at other skills and practices in arts and crafts.
This entire book is filled with a wonderful mix of traditional methods mixed with advances and/or happy accidents. I think the trick is to MAKE WORK, nothing happens if nothing is made.
DeleteWow!! This chapter was a good one!
ReplyDeleteImpressed- I was really impressed the Alexa McVey section and how her story was almost lost to the history of ceramics. I've always been a big Klee fan and immediately when I turned the page and saw her Ceramic Form No. 25 (pg 223), I could see the connection with Klee's style.
I was surprised by the simplistic, yet beautiful, nature of the jewelry during this time. Margaret DePatta's work was just absolutely gorgeous and the fact that she mimicked the geometric shape of the stones she used fascinated me even more.
My biggest take away from this chapter is actually about the Japanese influence in craft during this time period. I'm currently working on a Japanese unit with my K-5 students. They are absolutely loving it. Had I known this history, I would have included more of it in the unit!
I think the artist I would have wanted to spend time with was Bernard Leach. He was a catalyst in bringing the Japanese-inspired art to the US and had such a wealth of experiences to share.
On a side note, my boyfriend and I went to Silver Dollar City in Branson, MO this weekend. We got to see the artist Dan Dunn "perform" his work. If you haven't watched it look up his appearance on Jimmy Fallon. Such a cool artist!!
Anonymity is not a measure of quality of work. It's a measure of a lack of marketing, life circumstances, bad timing, or a lack of interest in recognition over the making of the work for its own sake. Fame and infamy are really two sides of a coin that all of us have to contend with. I have always said it's harder to be good than it is to be famous. (Think Kardashians).
DeleteExcellent point. In addition, most schools do not teach marketing (heaven forbid) nor do they prepare you for a job(s) to support your art making.
DeleteI worked on my craft project today and it is nearly complete, barring any unforeseen mishaps. Today, I prepared the drum head, and knotted the tensioning ropes. I've got all the parts basically in place now, and it's just a matter of letting things dry, tuning and a bit more knot work. I should be done by next weekend, time permitting.
ReplyDelete1. What surprised you? I kind of knew there would be Japanese influence in mid-century modern art/craft/architecture, but it seems odd considering that America sent people of Japanese ancestry to internment camps not that long ago during this time. It would still be fresh in the minds of those that survived the internment camps having to go back and rebuild their lives, if not deported to Japan. Not only was the historical amnesia in decorative arts persisting in academia (214), Leach reiterated this notion, which to me seems to be taken out of context. Leach stated American ceramics had no taproot, meaning no grounding in local history (216), which Wildenhain criticized the analogy, taking the literal meaning of taproot, out of context. I think American had historical amnesia not only in the decorative arts, but also regarding the Japanese people in America. America tends to like the culture, art, food, music, of ethnically diverse people, but the people themselves…..not so much.
ReplyDelete2. What impressed you? The embroidery of Mariska Karasz impressed and inspired me. I like her philosophy of going free form, saying “Meaning is born when the designer and workman are one” (236). I am taking an interest in embroidery, inspired by he bright and colorful designs in traditional Oaxacan clothing. I of course would not want to appropriate those desings, but rather come up with my own.
3. What are you taking away with you? I am really moved at the expression that most artists are pushing in their art. Such freedom and fearlessness.
4. imagine yourself in class with Voulkos, Asawa, Nakashima or any of the artists in this chapter how would you have reacted.
I think Voulkos, was pretty revolutionary pushing the boundaries of functionality in craft and giving expression full throttle. I was really interested in the work of Margaret Ponce Israel, because she was a Latina and her art was surpassing the functionality of craft. Her art sounds very interesting ,and I hate to say this, somewhat surreal. I wish there was a better word for surreal. Not magical, nor fantastical, either. I would want to preserve her legacy and put her art out there.
I think Leach was not prepared for the energy and desire he saw in American clay at this time....or what he saw of it. And I agree it is always easy to accept only the surface of a story. Fear runs deep when their is huge advertising installing new reasons to fear the enemy everyday.
DeleteOK, last question first, "What would it be like to be in a class with Peter Voulkos?" Voulkos was still a powerful force in the arts when I was an undergrad. Moreover, he was such a force in the Bay Area that all of my sculpture professors were influenced by him in some ways. Because he started in ceramics and then became sculptural in that medium and then in metals, I was surrounded by very prominent artists who were either his friends or friends with his students. Some were considering ceramics as a viable medium for large-scale outdoor sculpture as Voulkos had done. And others became more willing to explore other media after an immersion in ceramics. Among them was Bob Arneson who was unable to study with Voulkos at Otis. But by the time Voulkos was in the Bay Area, Arneson was able to analyze Voulkos' new approach to clay as a sculptural medium. But he did not wish to be perceived as a second generation version of Voulkos, so he took a new direction (see images on page 300 and 320). Voulkos' influence was very evident in using clay in very different ways, though in emerging aesthetic sensibilities. As a young student, I was exposed to his work fairly frequently. His pivotal position was part of a larger change in West Coast art where (like Voulkos earlier) young ambitious artists were brought into universities and colleges as older faculty retired. This daring move brought new blood into the arts and crafts, and in a self-fulfilling prophecy, these artists now had funding to realize their artistic visions and became regionally and nationally recognized.
ReplyDeleteI was also taken with Nakashima's spiritual beliefs about wood and his Conoid Chair. I have a deep respect for trees, even to the degree of harvesting woods from trees I have grown or seen cut down. Nakashima's use of wood that retained its original exterior edges in his free-edge tables (p. 249) had become a common folk practice to the point that many art students made their own tables and furniture using this sensibility. It almost became a cliche' over time.
I was more influenced by Scandinavian furniture designs and the generous teachings of Tage Frid. I was just discovering "Fine Woodworking Magazine" and seeing how much farther I could take my skills. Simplicity and elegant functionality stripped away unnecessary ornamentation, and replaced it with beautiful lines like those in Wharton Esherick's music stand. I had tried to create complicated wood carving, but had overlooked the elegant simplicity that really should be the foundation of even heavily ornamented woodwork. And in the end, there was as much handwork involved in that aesthetic as earlier ornamented wood pieces.
So how would you as an artist/ a student reacted if you had to be in class with Voulkos himself...or any one of the artists in this chapter?
DeleteYou know, I couldn't get Voulkos out of my mind since I posted. Something kept gnawing at me, and it was when he gave many of his own students awards in exhibits he juried. This has been a real problem in the arts, probably from time immemorial. But in the time frame of this chapter, it became quite visible and very disillusioning. One of the professors at my university (during my Maters studies) announced that he would jury the California State Exhibition. I submitted a drawing that I worked on for 6 months. It was rejected, and one of his favorite student took a large prize for submitting a postcard of 3 hula dancers into 3 pieces. My fellow students and I were pissed off.
DeleteThinking that would have eventually ended, I entered a national watercolor exhibit and was awarded a Gold Medal. At the awards dinner, the juror announced why he selected each prize winner. When he describe the Best of Show recipient he said, "I watched ________ work on this painting in my class, and was so impressed at how much they had grown. I was struck dumb, and when I went up to get my award, I said thatI only did one watercolor every decade and thanked the teachers I had studied with. As I walked off stage I was planning on throwing the Gold Medal in the trash next to the stage, but my wife glared at me to not do so. It's in a drawer in my studio with my diplomas.
So, to elaborate on what it would have been like to study with Peter Voulkos, I would have been unable to work within after his nepotistic awards to his students, even if one had been me. I would have given it back. I really hate this kind of politics.
7 years ago I was asked to jury the All Colorado Show. I told all of my colleagues and students that if I recognized their work, the best they would get was an Honorable Mention because I was not going down the road that Voulkos and others had gone down. I was adamant about this. Recognition is one thing, but monetary compensation should not be be included because no matter how objective I would be, someone would always wonder if I was showing favoritism. Just 2 weeks ago, my department voted on the Best of Department Award for our Annual Student Exhibit, and the voting resulted in a tie. We were then asked to vote on each student again to decide who would get the honor. I refused, saying that I really liked ties and that the award should go to both students.
Back to Voulkos. I talked to several friends who knew him, and their recountings of his personality as a colleague were really unflattering. So, I am changing my choice for the artist I'd liked to have studied with to Tage Frid. He seemed like a more ethical teacher.
Good points. I have seen it all ways...do not enter if I know you (with a wink), enter because I know you and then the usual throw of the dice. Terry Allen once gave everyone first place because he said everyone deserved a first place on their resume. Maybe we just need to rethink the whole process or even better stop thinking a show is important at all. I heard the same about Voulkos, but not as a student. I think ego and energy are hard to work with at any level.
DeleteI am impressed with Jack Lenor Larsen’s career in the arts. An artist, designer, businessman, supporter of craft, contributor to Craft Horizons magazine, teacher, an author he made huge contributions. I was disappointed to read the field was still out to lunch on his influence. Pg.236. I particularly like the term art fabric and feel it might have been before its time because it would be right in line with textiles in today’s times. I receive a magazine titled Art Cloth
ReplyDeleteI am surprised by the section on enameling, pgs. 244-246. I understand enameling became popular early in the 20th century and gained popularity by the 1930’s but feel perplexed at its decline as an art form in the late 1950’s. Many crafts become trite with the public turning them into kitchen crafts but with any art form it is the mastery that rises to the top like artist Paul Hultberg. It also surprises me in that it falls under the craft umbrella.
I take with me the advancement of woodworking. I deep down have a honest love of wood and its endless possibilities of transformation. I love the warmth it brings to a home; I love its sculptural form, I love that it is organic, and it once had a breath. To me, it is sculpture waiting for the master to release its form. I found Esherick’s quote about handiwork quite humorous.
If I was in class with Peter Voulkos what an experience that would be! Somehow I feel he would allow the complete freedom to push the medium ( any medium ) in way it had not been thought of before. I once had a watercolor class in college and the professor was strict, narrow minded, and applauded the paint-by-numbers look by the top students. I envied those people and felt an extreme sense of inadequacy. Today, I love the medium but prefer gouache and I practice in nontraditional ways. I love what Voulkos wrote about the tea cup and felt it was well said!!
Any medium can be anything...with information so available today what is cool may change faster or it may never change because someone new is always looking at it for the first time. Sorry about your watercolor class. NOT a good teacher.
Delete(chp. 6 respose) Diana, I stand with you on how difficult it is to think and create like an artist in public education. Other than the typical demands of the schedule, admin, and prep for 7 classes it is the constant mind interruption and classroom behavior. Honestly, I feel miles away from the halls of my college art building. I feel closer to hobby lobby than to Asel Art supply. ( humor). At the end of each school year, I reflect on how to create a classroom culture similar to a real art studio. I want my students to know living and dead artists, current trends and historical back stories, to know their art mediums, how to sketchbook and journal, and so much more.. But parents want pinterest products, art contests, ribbons, etc.. Administrators want lesson plans that take 3 hours to create, posts to social media daily, and meetings. Ahhh… public education. I am extremely grateful and feel I have made a difference in many lives but I want more… like many of us here in our class. We use terms like 21st century learner but what does the 21st century art student look like?
ReplyDeleteDAVID: Oh my, I have been doing a lot of research on the topic of 21st Century Art Education. I researched what is called Web 2.0, how new learners acquire and process information. There is so much more information out there now, but is the quality of that information up to the needs of the inquisitive learner? The most disturbing thing I learned was that truth was determined by consensus. Really? That looks like a recipe for disaster because the consensus about things we held to be "true" has radically changed. Perhaps more information will make "alternate facts" evaporate, but not in the short term.
DeleteI had a long talk with Dean Andrew Martin about acquiring art skills at the college and university level, and I told him that I don't think artists will go to universities to learn to make art. Instead we might see a digital guild which will let interested learners become apprentices to successful artists. I would be OK with that, but have grave misgivings about the training of art EDUCATORS under a guild system. I'd like to think that our society will insist on standards for art teachers in our schools, but at this point in history I am not sure there will be any standards except what is developed by consensus for all teachers, not just art teachers. Dr. Martin said that this is a concern for the university and the future of the School of Art.
Art Educator students , at the public school level, have to student teach for a semester and then pass two state test ( one on art/ art making and one on professional practice). MFAs and PhDs have not such tests or work they is required. I have often offered to have a class on the art of teaching art for MFAs and PhDs but it is always ignored. I think the beauty of this system is that students learn in the classroom and here at TTU in various outreach programs and they have time under the influence of a real life teacher with
Deletereal life students. They test are not created by us nor graded by us so aside from the ramdom where-the-hell-did-they-get-that question they are fair. Because I have many different teachers I think education needs many different approaches.
(chp. 6 response) Corina, I, too, like community circles to create in. Much like the women long ago (many of them our grandmothers) who gathered to quilt, we benefit in circles of like minds. As we go along in our book: Makers, I am seeing a community of makers; communities everywhere with each generation working in teams or collaborating together. We may create alone at times but it is this community of artists and like minds that we need to feel supported.
ReplyDeleteBeing part of such seminal workshops would have been both exhausting and invigorating. The work ethic around the artists seemed incredible. I think that being surrounded by the fresh ideas and creative energies would foster a positive sense of collaboration and competition. I believe that tired and sore are a fair price for creativity. Working in such an exciting environment would more than likely deliver a heavy dose of all.
ReplyDelete