If you love Textiles or if you are just curious about Fiber Arts this is your chapter. At one time TTU had an amazing weaving program with internationally recognized artists leading these beautifully serene classes. During a push to have a Fine Arts School, weaving and enameling along with puppetry were cancelled and glass blowing was slowly phased out. Metals survived by becoming metals over jewelry and ceramics moved towards more experimental forms. Directions change as faculty shift their own interests or new administration have a different vision. It is that way in all schools.
One of the reasons why I love this book so well is its ability to give an overview and allow for each area to shine in its own light. When answering your three basic questions give yourself time to take in all the areas and consider how they worked together or separately.
The extra question: Describe a show you would curate focusing on crafts. Title, size, location, artists (if you know some). Money is no object. You can also be in the show.
Sunday, March 27, 2016
Sunday, March 20, 2016
March 26th, Chapter 7
If you love or even just like ceramics this chapter is for YOU. It is literally the history of American Clay with all the names your professors refer to or respond to. Remember to check back on the timeline at the beginning of the chapter to help put all this rich history into its surroundings.
Before I give you the "extra question" I have been asked to expand on the final art assignment. I am not going to post past projects because I believe that is too limiting and too confining. I am interested in how you use the information in this book...not all the information but one aspect..maybe just one artist..as the source for your creative work. An example is Beatrice Wood, one of my favorite artists of all time, the majority of her work was working with, playing with, and experimenting with beautiful lusters. How would I use that in my textile work or would I take try my hand at a raku firing? Or can I create something based on her meditative approach to life and love. Maybe there is movement or school that you want to respond to, reflect upon. I want to see how this book stuffed with images and histories has worked its way into your studio and your way of thinking. This should be a new work...not a relabeling of an old work.
Now for the extra question. I want to expand on the last question I asked about teaching art. Pay attention to the introduction of this chapter and the development of the academic ego. This was 60 years ago and we are all still trapped within the assumption that somehow higher education is "IT"and that there is ranking between mediums. I am not talking about being passionate about your creativity but the idea that your way (my way)or they way we learned a process, is the only way and somehow with an MFA I have an edge over everyone else. Those of you who have had me in class know I moved to Northern NM as soon as they said I had finished my degree. I quickly learned that my competition for a job was an 18 year old high school drop out (because they were local and I was most likely passing through) and that the majority of my friends knew nothing about my art making but they respected it made me happy. These are big lessons and a wonderful way to put my MFA into a realistic perspective.
So the extra question...how do you learn? What would the perfect learning space/place for you?
Before I give you the "extra question" I have been asked to expand on the final art assignment. I am not going to post past projects because I believe that is too limiting and too confining. I am interested in how you use the information in this book...not all the information but one aspect..maybe just one artist..as the source for your creative work. An example is Beatrice Wood, one of my favorite artists of all time, the majority of her work was working with, playing with, and experimenting with beautiful lusters. How would I use that in my textile work or would I take try my hand at a raku firing? Or can I create something based on her meditative approach to life and love. Maybe there is movement or school that you want to respond to, reflect upon. I want to see how this book stuffed with images and histories has worked its way into your studio and your way of thinking. This should be a new work...not a relabeling of an old work.
Now for the extra question. I want to expand on the last question I asked about teaching art. Pay attention to the introduction of this chapter and the development of the academic ego. This was 60 years ago and we are all still trapped within the assumption that somehow higher education is "IT"and that there is ranking between mediums. I am not talking about being passionate about your creativity but the idea that your way (my way)or they way we learned a process, is the only way and somehow with an MFA I have an edge over everyone else. Those of you who have had me in class know I moved to Northern NM as soon as they said I had finished my degree. I quickly learned that my competition for a job was an 18 year old high school drop out (because they were local and I was most likely passing through) and that the majority of my friends knew nothing about my art making but they respected it made me happy. These are big lessons and a wonderful way to put my MFA into a realistic perspective.
So the extra question...how do you learn? What would the perfect learning space/place for you?
Monday, March 14, 2016
Sunday, March 13, 2016
Teaching the feel of art | Rory Allweis | TEDxJaffa
I thought this would tie into ..the question about teaching....
Monday, March 7, 2016
March 12, Chapter 6
I love this chapter because it is close to when/what I grew up knowing/living. I always enjoy learning about the "what came directly before" or what influenced a movement or style or rebellion. I want to know what is going on in other areas that as human beings we know have an impact on our art making. Social changes, philosophy, technology, music, books and media. What informed the creative decision making. And how did the various processes interact.
Not this week but the following week is spring break so there will be no post due for March 19th. I will post a reminder but use the time to begin your second book or watch your video or catch up if you are behind. More importantly rest a bit and go into the studio. And I understand for some of you this may be spring break.
Now, for the extra question. How do you think art should be taught? Not how you were taught or you teach. Take a while and dream. I know how ever you were taught must have worked because you are still making art...but how would you change it. Stop thinking state test (unless you want one for art), or the rotation you may have come to expect. DREAM with your art heart.
Not this week but the following week is spring break so there will be no post due for March 19th. I will post a reminder but use the time to begin your second book or watch your video or catch up if you are behind. More importantly rest a bit and go into the studio. And I understand for some of you this may be spring break.
Now, for the extra question. How do you think art should be taught? Not how you were taught or you teach. Take a while and dream. I know how ever you were taught must have worked because you are still making art...but how would you change it. Stop thinking state test (unless you want one for art), or the rotation you may have come to expect. DREAM with your art heart.
Saturday, March 5, 2016
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