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?
This comment has been removed by the author.
ReplyDeleteHello everyone! I am posting here since I don’t want to hassle people into going back and reading my late post.
ReplyDeleteChapter 6: New Opportunities
I really enjoyed this chapter in large part because of a focus on ceramics and the introduction of some familiar Artist.
The thing that most surprised me was the connection of the Manhattan project to a colorant shortage for glazes, as well as the broader impact that World War 2 had on Craft and Craftsmen and women at the time. It was surprising at first to read about how many makers of craft, especially jewelers were tapped as a resource of highly skilled production specialist for wartime optics and targeting systems, but it makes total sense when you think about it. Here were a set of people accustomed to, and highly proficient at obsessive intricate and detailed oriented production. What better group of people to bring into the war effort for precise pieces of armament.
The small section from the interview of Russell Wright was very interesting commentary on the relationship between form and function in Craft and Art.
Wright responding to a question about craftsman avoiding making useful items…
“ The whole trend of craftsman should be away from making useful articles and work toward the realm of the Fine Arts…….He (craftsman) can make useful objects but they should always offer something the machine can’t offer- like a more sensitive employment of materials”
I found that very insightful especially considering this was in 1943.
The section about Marguerite Wildenhain was also interesting. I was not familiar with her work which is strange considering she is described in the text as one of the most accomplished potters of the period, the “total potter”. The bit about her summer workshops where all the pieces produced where recycled and nothing was fired was hard to wrap my head around, in much the same way Futures question about how Art should be taught was. At first I thought that is an awful way to teach ceramics, but the more I thought about it I started to see value in it. It’s an extreme application of an idea I always stress when teaching potter. Don’t be afraid to mess up or try new things, to trim a piece until it breaks through, to make it as thin as possible to the point of potentially ruining it. The idea being it is just clay and you ball it up and try again, it’s not precious (until its glaze fired at least) and you can’t know your limits until you push past them. Even still, to spend a whole summer class and not keep a single piece, a bit harsh and maybe just a bit egotistical? When is a piece worth of firing, of being called your best, or hell even good enough to keep? Who decides?
My take away was a bit of an affirmation about how I feel about the ceramic creative process in the quote from Otto Natzler..
“At the time..I thought ceramic was clay and glaze, and one used the kiln and its heat to combine the two…The realization that ceramics is much more elemental, and that in a true ceramic the fire is an integral part of the medium, came much later.”
It was also lovely to ready about his relationship, romantic and working, with his wife. Made me want to be a better husband.
I especially enjoyed looking at the work of the Natzlers for it textural qualities of the glaze over the simple forms. Laura Anderson’s bowl pictured in the chapter for its glaze and surface texture interaction. I loved the awesome glaze of Beatrice Wood & the memories it brought back of fume firing ( Shelbi the luster on that thing!), and the forms of Edith Heath for the clean lines and contrast with the surface texture.
I am really struggling with the extra question, and the issues Wildenhain’s summer workshop brought up. In a way I am turned off by that idea, but after thinking about it I do the same thing all the time when teaching, just not to as extreme a degree.
What stuck with me about giving her the "total potter" label was how she handled the 'big three' - idea, process, material and relating that to the creative process. Too often we get caught up in the materials, or the finished product. I agree, we do need to sometimes take risks and I think in order to do that you need a fearless leader (like Wildenhain), and an environment that fosters respect and invites mistakes. When Future mentions Junction, that is all that comes to mind. Art in general needs respect and trust to flourish, that is the least we can give our students.
DeleteDavid, I've invited my wife and child into my work process, although that's because they both get a kick out of it. My daughter has scribbled on the base layers of my paintings before. She even participated in a public painting event I did recently. It was a lot of fun. My painting space is in the same space my daughter plays in. Even though she is not at all artistic, my wife gets a kick out of doing the really tedious parts of my paintings so she'll sometimes fill flat areas I've marked out. When we were dating she helped me paint a mural in Deep Ellum. It's really been a great way for me to stay productive while being present in my family. I highly recommend it.
DeleteThat is awesome Justin. I have recently started sitting down and painting with my daughter everyday after work, sometimes its 5 minutes, sometimes it is half an hour. It really depends on how long she can stay interested. It has been really relaxing and keeps me grounded. My wife is really crafty in the pintest sense of the work. We do things like refinish furniture together, but I've never thought about including her into my Art making. I am going to have to give that a go, especially after reading about the Natzlers.
DeleteCome to think about it my wife would probably love doing underglaze designs on my pots....Thanks Justin!
Daniel & Justin, How wonderful you are doing art with your kiddos! SAVE EVERY SINGLE THING THEY EVER DO. You will not be sorry. My kids are 21 & 26 and I still have some of their childhood art on my walls. When you ask them to tell you about what they have created - write down what they say. Or have them write about it then read it to you or tell you what it says - and write it down. Such precious memories! You'll be surprised at the artist inspiration you get from this as well. An excellent book I recommend is DRAWING WITH YOUNG CHILDREN by Mona Brookes. I used it when I taught Ele. Art & used DRAWING WITH OLDER CHILDREN when I taught M.S.
DeleteI've asked my wife to help me with projects a few times, and have been surprised every time at how willing she is to jump into it. Justin, I really like the idea of having your daughters marks included in the ground of your paintings. That's a great idea. Actually I'm going to steal it if I ever have the opportunity to do etchings again, and will have my son help me beat the plate up some. Your comment about being productive while being present with your family hit home with me too, as that's one of the biggest obstacles I've had recently with making anything. I only have every other weekend to devote to getting anything done, but that's also the only time I have to spend together with my family, so I have to pick one or the other lately.
DeleteDaniel, how old is your daughter again? That's great that she will paint with you every day. I'm looking forward to getting to that point with my son, but every time we've gone out to draw with chalk or crayons there's 1 minute of coloring and 4 minutes trying to get him to not eat whatever it is he's holding.
keep thinking outside of the norm or the reality of public schools....think about the larger picture of art, all art.
ReplyDeleteReflect on the environment needed for art to grow. Look past a lesson. A hint: think about Junction.
ReplyDeleteThis is a topic from chapter 6 but I wanted to point this out and see if anyone else noticed this. Beatrice Wood's figurine sculptures (like "Poor Man!", "Chocolate and Young Men", and "Virgin's Dream") - Does anyone notice a strong correlaton between her figural sculptures and Tim Burton's claymation figures??
ReplyDeleteYes! It's fun to imagine Tim Burton looking at her figurine sculptures and himself imagining them animated! Oh, Tim! I have a question for you.
DeleteOne of her figurine sculptures is of a man and a woman sitting on a bench. He is giving her a sideways peek out of the corner of his eye. That one definitely reminded me of Tim Burton's work. I couldn't find it's name! Do you know it?
Jennifer, I caught Tim Burton's exhibit at MOMA a few years ago - if my memory serves, I think he said some of his work was inspired by Day of the Dead imagery. It was a great exhibit - showing some of his early beginning work.
DeleteBleuSky - Yes! That one is called "Poor Man!". When I graduated with my BFA, I was offered a graphic design position at Tim Burton's studios in NJ. I stupidly accepted another job that paid more! Ugh....... I have such a soft spot for Tim Burton's work. Gail - Would have loved to see his MOMA exhibit. Found out the exhibit is in Brazil right now...
DeleteThanks, Jennifer! "Poor Man" - now I know.
DeleteDaniel, Future, Jennifer - I just finished adding all my comments to chapter 6 then I see clever Daniel posting his ch6 comments here. Dangit! Why didn't I think of that? If you get a chance, please do go back and read my comments and add to them with your own opinions if you so desire. Jennifer, you really cut loose and spoke straight from the heart in ch 6 on your description of how art should be taught. I could feel your passion! I had a difficult time with Future's question of how art should be taught. I kept thinking and thinking about it and what repeatedly came to mind was stories of Merlin and King Arthur, how Merlin managed to turn every experience into a lesson, and apprenticeships.
ReplyDeleteOn reflecting on the environment needed for art to grow my thoughts go to an art teacher mentor of mine and the many pearl drops of wisdom she bestowed upon me. She would say, "Don't wait until you have created a masterpiece to claim you are an artist. You are an artist now, live it breathe it, dress like an artist, BE an artist." I would tell my kids that and it was like magic words that gave them (and me) permission to BE an artist.
While at NCECA this past week I had an interesting conversation with an art student from Abilene about the difficulty of those who have such a strong emotional attachment to Junction moving to Fredricksburg. I told him how Junction was so conducive to getting a lot of work done because there were so few distractions there compared to Fred with it's tourism, shopping, and wineries! He immediately exclaimed, "Ah, but the inspirations Fredricksburg offers!" hmmmm, we shall see Yes, Fredricksburg is full of artistic inspiration. My hope is that the campus there will develop into a safe and supportive oasis that will inspire artists to want to be creating their art 24/7 with only the occasional break to roam.
Super jealous of your NCECA trip, my Instagram feed was blowing up with all the potters I follow posting all the great sights and sounds from the conference. How was the "Not everything is bigger in Texas" show?
DeletePaula - what great words of wisdom - on "be the artist" - DaVinci sure wasn't a master when he created his first drawing! He sure had resolve though to keep going and drawing more! Living the life of art! One of my favorite art professors - brought openness to the class and encouraged communal workshop style learning. I really liked reading about Voulko's teaching style and as they said he inspired by his energy (p 226).
DeleteThinking again about how art is taught and the Junction comparison, I was thinking about how we were the audience to the science class and followed them around as they named and explained the plant life. They in turn came to the exhibits and the glass blowing in the evenings. Mutual respect with eagerness to learn from each other while expanding the minds of both artist and scientist. How do I create that atmosphere in class? I try to bring in guest artists share their craft. This semester, I have had a glass fusion artist and a watercolorist spend time with my students. To reverse the learning, last weekend, my art students did a live painting at an evening school coffeehouse. More student artists enjoyed the music and the student musicians asked the artists to return with a new performance art.
DeleteRemember that the seminar class also made cyanoprints for the science class from the examples they shared with us. A true exchange of passions and visions.
DeleteI also think that the different studios were bouncing energies off of each other in Junction. Often we found ourselves relating colors or forms we were making in the metals class to things people in the clay studio were making.
DeleteWell I think this summer we are going to have to step it up in Lubbock and Fredericksburg to live up to what built before. Soo saying that we going to have to encourage professors to stay with us and do their work with us like Voulkos did and we are going to have to challenge each other. Make it a point to visit each other and sit and work together "at night" in each others areas and keep what we have learned from the "Junctions experience" alive. We can build out own "junction experience" in Lubbock and Fredericksburg.
DeleteWe just have to be careful in Fredericksburg that partying doesn't take precedence over art making. I was one of the only few that stayed up till 2 in the morning. And it was the pits to go early and the building wasn't open. It was hard for me to be in the mood and there was no way to get the art to work on it.
Kim, I found it hard to go back to the studio in Fredericksburg after leaving for dinner. I think that had to do with the not being able to stay on-site. I would work until I was exhausted in Junction, just because there was nowhere else to go.
DeleteAgain, I was surprised by the interaction between jewelry and painting. The work of Svetozar Radakovixh and its correlation with Surrealism(p. 240) is very exciting for me to think about. I am wondering what it would be like to trace how art influenced and was influenced by the more commercial worlds of fashion, design, architecture, and everything else that was more of a part of everyday life. I wonder how those things are interplaying now. Off the top of my head, I’m thinking about how contemporary fashion will be remembered anytime anyone in the future looks at a Kahinde Wiley painting. But there has to be so much more that I would notice given the time to drift off and the benefit of the filters of history. I will have to put a pin in that thought for a decade or two, until I have a much broader view of the culture that exists in my lifetime.
ReplyDeleteI am surprised at how quickly academia altered craft in America. I was at the National Art Education Association Conference this weekend and I was thinking about how much of traditional education had seeped into the art classroom, mostly in regards to grading policies and uniformity. It sort of breaks my heart a little bit. I wonder how many great ideas or would-be professors have been excluded throughout history because they didn’t have the right degree from the right place. I find it regrettable that if I ever attempt to teach in college, so much of my merit will be based on my degrees over my ideas or my ability to communicate those ideas.
I was also surprised at the contemporary feel of Robert Sower’s Red One from 1952. It looked very much like the work being done today. It reminded me of something I would see alongside KAWS or Lari Pittman.
I have too many things going on for me to really have a solid take away. I think my experience at the Conference along with all the writing about college art teaching makes me realty unsettled about what I want to do down the road. I really enjoy presenting to teachers, but there is something about that whole college world that makes me a little hesitant to go down that road outside of the occasional conference. I don’t know what all that means to me. For now I guess I will just put one foot in front of the other.
I learn best when given room. I like to follow an idea until I drain it of all potential. I like to read everything I can find about a concept, experiment with it, turn it over in my mind, lay it out in multiple ways and then review how much of it I will absorb into my being/conscious/practice. I think sometimes I find organized courses too restrictive because they can prevent me from following the path I am most curious about. Also, it prevents me from dismissing a topic once I have taken it as far as I want to, although sometimes that is probably a good thing. I think that is one of the reasons I enjoyed the summer painting glass with Ghi and David so much. I would start pulling on threads that I was interested in exploring in my own work, and they would point me in new directions or give me new information. I try and teach my students in that same way that I like to learn. I try to give them as much room as they want to explore their ideas, and I find ways to nudge them into new ideas or bring them new information.
David I agree with you, and I am taking Ghi's class this summer and now am more anxious for it to learn more! Interesting insight on your 'learning' views, especially about the organized approach. I sometimes want to dig deeper into something that is brushed over briefly as opposed to what others value as more important. I try to keep an open mind in that aspect with my students in allowing them to get more experimental and free with what they want to do and to reach them all individually in class to help them with that.
DeleteI can relate to your learning style, and I try to apply the same kinds of concepts my advanced classes in that they have a lot of freedom to explore their own ideas. I have experienced various degrees of success giving that same freedom to freshman level classes, but that really boils down to how you quantify a successful learning experience. Is it the students take away from the work or the work itself? I think the two aren't independent of one another and I am not comfortable saying one is more important than the other, I think they are to interdependent on one another to say definitively its all about process or all result. Both have real value.
DeleteWhere was NAEA this year? Strange it was the same time as NCECA.
David remind me, do you want to teach at the University level down the road?
I have a difficult time often restricting students and typically encourage guiding a student with his or her own ideas,in order to allow as much freedom as possible in an assignment, to encourage critical thinking as too often a student becomes so used to being given a said assignment with strict rues to follow in the assignment that they are in danger of not knowing how to work through a problem when they have no strict guidelines ,when it is an open ended assignment.I see this so often that a student will just sit there and not be able to begin if he or she has to come up with the content or subject in an assignment.
DeleteDaniel, I have no idea what I want to do down the road. Honestly, I would like my professional life to resemble my learning style and just be able to go from project to project, but that's a little unrealistic. I don't know that I would ever leave the high school classroom. I really love it. I have been giving some thought to teaching a class or two on secondary art education specifically once finished with this degree, but I am geographically tied, and I am not quite sure how I would make that happen. I do really like being involved in the conversation of how high school art should and could be structured.
DeleteNAEA was in Chicago.
Susan, I design all my lessons around broad questions about existence. That usually prevents my students from having that "deer in headlights" response to an open-ended assignments. For instance, right now my advanced students are discussing how monsters culturally reinforce the rules of society, and are identifying what their borders are and what would the monster be that patrols that border. They have to somehow respond visually to that line of questioning.
DeleteI just gave an anti hate project but the students need to go back as far as Egyptian times and think of racism in terms of slavery and the manner women were treated and relate it to times presently and racism in todays world...and then to carve their idea out of wood....we shall see what happens..oops need to go to class..
DeleteRemember NAEA is for Art Education and studio practice is not really a part of that agenda
DeleteJustin, I can relate to your method of learning. I like to get more in tuned and knowledgeable on something until I begin to incorporate it more so with my work. I also like your lesson plan design. I personally love being given open-ended assignments even while I was in high school. I was more motivated to do my own work.
DeleteNice. If you do consider higher education approach with a sense of changing, making it better. Or maybe the best path is to make art, have a day job and find avenues to show your work in order to begin conversations.
ReplyDeleteI do know many artists, whom I went to graduate school with when working on my MFA, who actually chose this option.They did not want to teach so they got good jobs in related fields, sometimes but often it non related areas,and then made their art and exhibited. For many artists the pressures of academic life and attaining tenure just was not for them.
ReplyDeleteI believe the perfect learning space/place to me is openness in the process, nurturing and challenged by the teacher. I also think a class with mixed processes or diverse artistic disciplines would be interesting – I was involved in a group that met monthly that had a writer, embroider, a traditional quilter, a painter, a knitter and me (writer and art quilter). What I liked about it was we had different aspects of the creative process and it was nice to talk with others and ask how they would problem solve within the theme of the artwork. As far as higher education creating the artist or a better artist – don’t think I believe that…getting a degree for higher education is just a personal goal and its even sweeter cause it deals with Art – something I never really imagined for myself but seized the moment – cause its just awesome studying art vs. accounting – trust me on that!
ReplyDeleteI loved reading about Voulko’s osmotic education. (p226). I think it’s a great compliment when young people don’t want to go home because they want to learn more and they think they’re going to miss something if they do! Love that!
ReplyDeleteI think Ruth Asawa was ahead of her time – loved her wire crocheted sculpture – Loved how her process utilized, described and defined space. Also, loved DaPatta’s jewelry – had clean, sophisticated line and modern appeal. Also, John Paul Miller’s embrace of ornamentation in his jewelry was exciting and again appealed to me based on his use of nature for ornamentation.
I think what interest’s me from all the readings – is that these artist’s really seem to lose themselves in their process – they are constantly challenging their work and asking more questions to create the art work. They know their work inside and out and why they do everything in their process of creating it and the choices they make. This excites me! I have been trying to get there in my work vs just making something – I’m trying to consciously evaluate and choose with purpose in my work. Even the potter who on first glance had simple designs – Warren Mackenzie – his work challenged our thoughts on the relationship of the foot and lip, spout to handle, interior to exterior. It was also stated on page 219 that his work resembled the pace of living in the Midwest and the undramatic landscape and that he compares the process of discovering a pot’s pleasure over the same experience of getting to know someone. This spoke to me – and I really value this in my own work! I try to bring relational thoughts or inspiration’s into my work based on juxtaposition of color – so his design was a great example. (p219, fig 7.3)
I also think another aspect of learning to me – thinking back to Junction and building on what Paige commented on with our interaction of the science students – it would be nice if you could cross reference the art students with the business students or pol. Sci or other departments to see what kind of themes you would get in the art students work – it would be a great accomplishment to see the exchange of ideas!
At faculty meetings, they are always pushing cross-curriculum lessons on us and in my mind I think it happens naturally in art, it's just a matter of presenting in a manner the students can relate to. I've collaborated with science and math teachers. Last semester we coordinated a 1-point perspective lesson so the students were immersed in the concept from a strictly mathematical approach, and from the visual art approach. It worked out nicely and it was fun to put up a display of their more- architectural drawings from math, and their "Out of this World" Hallways for my class, which was a mixed media assignment. I think if we had more planning time, the whole school could get on board with the idea and it could really change how kids learn. Sometimes the idea doesn't really "click" until they see something from another perspective.
DeleteBut regardless of cross-curricular planning with art and other subjects, it is interesting to see the influences of particular subjects. Or when an artist does have a day job and how that can influence the subject matter of their work.
April - how fortunate are you that your school encourages this and doesn't see it as "too much to ask" in today's test achievement curriculum! I think that openness creates a better community!
DeleteI think art can bring a different resolution when working with different cultures and ideas. Tends to create more challenge in a positive way. In the book, I loved that because of the war - artists were now becoming a little more "global" in ideas and exchanging them.
I used to teach fifth grade art with the best ancient history teacher I have ever known. She would come to me with an idea and I would make it happen. We turned our hallway into Lascaux Caves and King Tut’s tomb, created a life size Rosetta stone, made canopic jars ceramic Greek vessels, and made the metal post around campus to look like the Caryatid porch in Athens, just to name a few. When the students graduated to 6th grade, they knew more about ancient history than most of the high school students. I still beg her to come out of retirement. The key to collaborating is teachers need to be on board and willing to give and take. Like April said, it naturally happens in art.
DeleteApril, I always tell my students that the "core" classes only exist to add content to their art making, to show them how the world works so they can question that world in their work. I'm only half kidding when I say it.
DeleteGail- yes, very fortunate I am... yet faculty still complain. Art is definitely a resolution; actually a student of mine and I had a conversation about how creative thinkers (artists in any way/shape/form) are the ones who will change the world and solve problems!
DeletePaige- that sounds like an awesome project/collaboration!
Justin- I like that perspective about the core classes, kidding or not!
I absolutely love this chapter, I think best of all from the page one... but Iwill choose and narrow it down..but I have to start with page 231..John Mason...I love his process..."I
ReplyDeleteHe began to paddle the vessel walls and complicate them with hand-formed additions.Abandoning displays of skill and formal propriety...."I love this process and way of thinking and the clumsy and primitive feels of this vessels is what I love,some of it left raw and some with seemingly arbitrary color splattered on the vessel.I have 5 minutes before class but I will return after the senior show tonight to finish but I was so excited I had to say something and take a look again at this piece,,,lol...ok..I like that he worked with an enormous easel and arranged strips of on the floor, I did something similar but I vowed not to show anyone but now after seeing this I may be brave enough... "vertical sculpture"love those words...the "physicality of it.."just like I was doing with my piece last night.. I was sitting on the floor and pushing it and throwing it and punching it,,lol...I really will take that away with me this process of his and his words...I was surprised in the very beginning of the introduction when it discusses that now mass produced crafts were wanted and desired due to convenience....so surprised but I guess it all makes sense when you read the history of this time...I am impressed on page 213 with the idea of Zen and Japaneses influence....When I was working on a PHD in Studio art in Australia at Monash Uni ,a friend was from Japan and all of her work has these same philosophies in her clay porcelain pieces she even would invite us to her studio and offer tea in a quiet and ceremonial manner always living the ZEN way of life...patience..she repeated 100 pieces of the same size for a wall hanging....The discussion of porcelain on page 215 is interesting and I am reading the book,white obsession about porcelain...I like truly the piece on page 223 with its simplicity it is the essence nothing more needed this piece says it in a n elegant way...Leza McVey...and her experimentation and Paul Klee decorations are apparent"define the personality of the vessels and seem to lead them gradually toward zoomorphism..."I love it page223
I too love Leza McVey’s Form No. 25 and the Paul Klee style, linear decoration. I even had to look up more of her work. Many of the photographs have 2-3 pieces together. They compliment one another leaning one way or another having a conversation. As she says, the forms don’t need bright colors. “She retorted that too many ceramists used bright colors to disguise dull forms.” I also found a photograph of her installation at the Cleveland Institute of Art. The diagonal walls and lighting with her style of work is beautiful. http://mondo-blogo.blogspot.com/2012/07/leza-mcvey-under-radar-and-underrated.html
Deletehttp://mondo-blogo.blogspot.com/2012/07/leza-mcvey-under-radar-and-underrated.html
Ah, yes! Everyone needs their own Pottle! I enjoyed learning about her and how she calmly went against current convention. I felt an underlying current in this chapter of artist's going against the popular conventions of their times - not because they were striking out, fighting back, etc..., but because they were immersed in their own thing! To me, this relates to future's question of how/where/when do you learn best and I would say, in this case, by focusing inward and listening to your inner self.
DeleteIt is interesting but I teach Art for Elementary School teachers and I am constantly discussing and integrating science,math and history with our art lesson plans.I teach art to Military at Fort Hood and again I always cross reference art and relate it to history ,warfare...so I do agree that idea of cros referencing the art students with other majors would be interesting...But the question is How do i learn and what is the perfect space for me to learn. I will preface this with a tiny story about myself as a freshman in college and thrown into a figure drawing class,day one,classroom crowded and a family;mom,dad,baby and child sat there naked for us to draw, Everyone drew, I sat there frozen..and to this day I still feel the embarrassment and the feeling of not being able to draw,the panic,now I had started drawing the nudes at age 11 at The School of The art Institute so this was not the challenge..the problem was the tense and formal classroom setting. So I answer that I learn best in a relaxed,quiet,small informal space.I learn best visually with ore of a self paced type of situation. My space to learn wold be a relaxed quiet and friendly environment.
ReplyDeleteIf you weren't drawing nudes in a formal classroom setting at SAIC, then what was the setting in which you were drawing nudes at age 11?
DeleteWOW! i've been completely overwhelmed lately and I don't think I was even able to respond to any classmates comments from the chapter before spring break! I plan to do that this week. Please forgive me, I feel like this week just flew by!
ReplyDeleteI understand. Remember you only have to respond to two per chapter.
ReplyDeleteI'm not sure but I think I misunderstood the question you asked Future - my answer for the actual physical space I would like to create in is surrounded by nature, good lighting (big windows), a vaulted ceiling and maybe even near water! These elements would really free my mind - I think I learn through reading and asking myself questions. I also do a series of spiritual readings and meditation before I start my actual work in the studio. I have ADD and this seems to help steady and focus my thoughts. While working I keep a spiral close to write thoughts that pop into my head.
ReplyDeleteHey Gail,I love you space can I come in it and work with you?..lol..What you do before yopu work sounds aot like what i do only I call it "preparing your subconscious for painting"
Deletesorry..tired///meant I love your space....meant before you work.....sounds alot....I do..sorry about spelling
DeleteGail I can see your space it fits you! I took up my back porch for a studio for me and the first thing was to put in the biggest windows I could find(for light and seeing the green backyard like you). Had to have air circulating (because of toxic art I do) and a concrete floor easy to clean, with a big deep running water sink.
DeleteHere are my problems now. I have created too much and not enough storage space, when I say storage I mean up artwork on walls to look at and change out, need more table top space (now that I am doing more material/fabric pieces need place to cut, measure and lay out ideas, because I think too big). Since I was hurt I had moved all sewing stuff into house and now my whole house is a studio. (I love it, but it is not conducive to live in all of the time.)(plus my poor husband has to move material out of the way to sit down to eat dinner)(He doesn't complain, I just feel bad)
So your idea of being surrounded by nature is great just make it big with some hanging space and a lot of table tops space. I guess that I just answered Future's question!
Gail - I too have a difficult time with keeping focus as I am easily distracted. The worst is when I'm reading. A hang nail, a noise, thirst, hunger, room temperature all seem to become elevated when I'm trying to focus. When I'm reading I'm most successful when I can get the audio version and follow along in the book. This is what I'm doing for the porcelin novel "The White Road." However, when I don't have the audio version, like our textbook, I need to situate myself in a cafe with nature sounds on my Pandora. The presense of people I don't know in the cafe helps to keep me on task. As far as art making is concerned, I will definitely start using a notepad next to me while I work. Sometimes thoughts enter and I find myself on a thinking tangent and I have no idea how long I've been starring out the window for. I've used my phone in the past to jot something down in google docs but using this seems to be more distracting. Never thought of doing spiritual reading before art making. Do you have any suggestions?
DeleteGail , there are no wrong answers for the extra question. I am curious as to how each of your answer it. My goal is to help you think /re-think about an issue.
ReplyDeleteTake Away:
ReplyDelete“Zen embraces imperfection and incompleteness as allowing room for imagination; recognizes the meditative nature of repetitive actions; advocates forgetting the self through engagement in action; and find meaning in concrete daily existence” (p 217).
&
“Yanagi spoke of craftsmen as servants of nature who helped reveal the unforced beauty of materials” (p 217).
I felt like these quotes correlate well with my thoughts on how art should be taught in that I hope to one day get my students and their art critics to view their process-oriented creations in a different light. I believe that along the lines of Zen philosophies, favoring imperfect process-oriented artwork over clean and forced productions, allows imagination to prosper and provides the possibility to identify a creative purpose for the beauty that surrounds our daily lives. Unfortunately, however, I believe that so much emphasis is placed on pumping out good-looking products that there isn’t any leisurely time to naturally allow that to happen. I’m thinking that if I could get the school community more on board with appreciating the imperfect and more messy-like qualities of the children’s natural art process, I feel like it would benefit the children’s creative energies greatly.
Will have to explore more of Yanagi’s thinking and art making through Zen ideologies. I hope to get a stronger point of view for my ideas after I look into the two mentioned books in this section (“The Unknown Craftman: A Japanese Insight into Beauty” and Kakuzo Okakura’s “Book of Tea”).
The one thing I miss about elementary ed is the appreciation for their art. ALl day with HS you hear how imperfect it is and how much more precise they want it to be. you even start to teach them in a way to get them to achieve the perfect picture especially in the sense of getting them the 5 on AP or the state in VASE. In elementary they have joy just in making something and everything is viewed as a masterpiece. I miss that!
Deletejen, I totally agree with the ideas of embracing imperfection and concepts within ZEN philosophy also......
DeleteThanks for sharing those quotes. I am trying to think of ways to incorporate some of these philosophies in my classroom. The process side of art has always been my main interest and I want my students to realize that sometimes the end product isn't the most important thing. The journey getting there is. I like how Voulkos ended up throwing out most pots in the studio because they were taking up too much space. The point was to experiment and create, the process was valued.
DeleteI shouldn’t be surprised with how the crafts changed with painting, architecture, and sculpture in art history, but I am. I loved seeing the surreal art in chapter 6, Eve Peri’s fabric collage, Journey to the moon, and Sam Kramer’s Poc Pendant. Now in chapter 7, we can see the change to Abstract Expressionism, spontaneous, intense, rebellious and on a grand scale. On page 230 is a photograph of Paul Soldner’s Floor Vase. 56” high! Margaret Isreal fit the Abstract expressionist by the quote explaining, “Isreal made pottery ‘to hold everything that belongs to life and to the imagination.’” I am enjoying the correlation with crafts and art history, gaining excitement as we advance to the next chapter.
ReplyDeleteI was impressed to read about the Nonacademic cooperative studio spaces and especially the Archie Bray Foundation. The vision to build an art center with Peter Voulkos and Rudy Autio forming and firing the bricks to build the pottery building. Impressed mostly because two of my past students had residencies there, one even had a two year residency. Okay, I was only their junior high teacher at the time, but now one is the 3-D educator teaching with me now. She shared how she was a 3 month resident after completing her graduate work. She then worked full time, manual labor at the brick company because she enjoyed being part of the foundation. She agreed with the book, “Students were reluctant to go home to their families, afraid they would miss something.” Now I would like to have that kind of energy in my classroom.
My take away is Peter Voulkos. “ A voracious consumer of visual information, swept his students along with him to galleries and museums...admitted to an enormous number of influences.” He was experimental, making large-scale pieces knowing he would have many kiln failures, but kept trying and never quit experimenting. He worked alongside his student, “he inspired them with his energy, curiosity, enthusiasm, and competitiveness.” As an educator, I hope to always be a learner and never quit experimenting. I don’t think I could have the impact on students like Voulkos, but I would like to take a class from him. On page 225, “Things got more exciting once Voulkos was around.”
When we started reading this book, I felt small. It seemed artists worthy to be written in the book had to graduate or have taught at Alfred, Pratt Institute, Cleveland School of Art, and RISD. In Chapter 7, as I read about the shift to the growth of art schools and art majors, I appreciate the need for education, community, and exhibition sites all the institutes offer. The issue of teaching at the college level, an artist needs an MFA, the statement on page 213 caught my eye, “In effect, the academic community created a marketplace for its own product.”
How I like to create? I enjoy the community, the stimulation, and the excitement of working with others. The physical space is not as important as the people around. To work alongside other artists I respect and admire inspires me.
Paige, I felt the same way. I feel the same way all the time. I think since I've started my art education I have felt very limited in my art work. I haven't really truly made anything from my heart in years! So when I am reading about these amazing artists and teachers who have been in exhibits, wrote books, been part of art residencies...I question my own position. But I remember that I am still learning and ideas and visions I have in my head can still be a reality, I can do my photography, perhaps soon and show others that yes I can be an artist.
DeleteI'm very shy and prefer to work alone but I enjoy being surrounded by like minded people similar goals. It's been a full year, I don't get that a more so inspiration and motivation has been very lacking.
Like Voulkos, I've always appreciated when professors work along side their students. Throughout my undergrad and grad studies, I've only had two prof do this. It's inspirational and motivating, and that kind of energy is catching!
DeleteMichelle - I share the same feelings. I didn't receive a BFA from a university that's very popular. It's program was just ok. But, at the time, it was what I could afford and manage. One of my favorite life mottos is "You do the best you can with what you have," I've tried to make sure that I remind myself of this often. And, I too lack the movitvation to create sometimes but it is true that when I'm around other creatives, it really does inspire me!
DeleteDitto to the small feelings. Mine are exacerbated by not being able to show my work to anybody or receive feedback from other artists. I know we've brought it up a few times in this class, but a community of artists is really an important thing for me to feel like I'm contributing to anything rather than just fiddling with some ink and paper.
DeleteFredericksburg last summer was really great for this by the way and am really looking forward to it again this year.
Remember education comes in many forms. Many traditions.
ReplyDeleteHans Hofmann- Take away- who despite the need for MFAs to teach created his own school to educate. This is interesting to read as I start this chapter because it is something I have thought about and mulled over for future plans and also ties in to how people learn. I have considered the idea of opening up a space, with various materials interchanged as well as an artist in residency area to rotate out a gallery of artists who come to visit simply to make are. I learn by observation, demonstration, reading into something I am truly engaged in and testing it out myself. I need a space without distraction and filled with influence, usually outside or with music. This ties into how I possibly might want a place to be for others to learn. An environment that is open, self paced, and able to make art just to do it without the need to have an MFA to do so.
ReplyDeleteI am influenced by Prieto's work. At first glace I expected a Japanese artist and was happy when that was the influence in his work after reading. While living in Asia briefly my parents gathered up similar ceramics pieces at the house that this reminded me of. Simple colors, shape, and line tie together to create a unified piece. Love the form and shape of the image in this book.
Mason- I decided to look more of his images because they sounded better than what was depicted. The only ones I did find appealing are not in the style that this book noted as remarkable. He has some others grerat more geometric and smooth art forms. This just didn't appeal to me, its different than all of the smooth and symmetrical forms, but just comes off to me as sloppy.
Sarah - I love your idea for a school. I have been doing the same, wondering about a school for stitched textiles. They have a school like this in England; The School of Stitched Textiles it originated from a certification process in London called the City and Guilds certification that is just for the England area. - I have wondered if this is an idea I could implement in the USA - to keep an art form around - because I feel like the sewing guilds are diminishing due to the "modern woman" schedule. The only thing close to it is - Craftsy now- but its not a certification process. I agree with Paige - it did seem overwhelming at first reading about the artists - but I'm finding inspiration from these artists to think and approach it differently!
DeleteI guess I have listened to everyone discuss the MFA and the arrogance of this degree and the "no need for it"..I guess I will say something now.....The reason that the MFA came into being in the first place,THE CAA,or College art association wanted to protect studio artists who wanted to continue to make serious art without having the pressure to attain a PHD and remain in academia... so the MFA degree was put into place to support us,artists/instructors not hinder or harm us artists/educators. I was going to copy a statement from the CAA here for you to peruse about the degree but I am too tired after teaching all day at Fort Hood,sorry..but I do urge you to do the research about the degree and to read the CAA statement about the degree before you make judgement.....But I wanted to say something from my personal experience and recent completion(actually 9 years ago I completed it..oops not so recent I guess) of this MFA degree from Georgia Southern University,where I received my degree after 3 very challenging and exciting,both intellectually and artistically years of my life. It changed my life as an artist and educator and I would not be the artist/educator that I am today without this experience. Ok enough rant about this......
ReplyDeleteI don't the book or peoples responses are saying there isn't value in an MFA, simply that it isn't the only way in which a person can grow as a working Artist. I think assuming because a person has a degree either at the undergraduate or graduate level means they are truly adept at that fields is false regardless of the field of study. I'm sure there are people walking around with MBA's that aren't actually masters of the business world, so it is not that I feel MFAs are meaningless. They give you just as good an idea as any other degree someone might have. Much work was put in, but that doesn't mean that person is significantly more qualified than a person without the degree who has just as much or more knowledge in the same field acquired in an alternative setting.
DeleteI don't the book or peoples responses are saying there isn't value in an MFA, simply that it isn't the only way in which a person can grow as a working Artist. I think assuming because a person has a degree either at the undergraduate or graduate level means they are truly adept at that fields is false regardless of the field of study. I'm sure there are people walking around with MBA's that aren't actually masters of the business world, so it is not that I feel MFAs are meaningless. They give you just as good an idea as any other degree someone might have. Much work was put in, but that doesn't mean that person is significantly more qualified than a person without the degree who has just as much or more knowledge in the same field acquired in an alternative setting.
DeleteStatement on Terminal Degrees in the Visual Arts and Design
ReplyDelete(CAA, January 2015)
The MFA degree demands the highest level of professional competency in the visual arts and contemporary practices. To earn the MFA, a practicing artist must exhibit the highest level of accomplishment through the generation of a body of work. The work needs to demonstrate the ability to conceptualize and communicate effectively by employing visual language to interpret ideas. In addition, the MFA recipient must give evidence of applying critical skills that pertain to meaning and content, ultimately encouraging a comprehensive examination and critique of the function and role of art from a variety of views and contexts.Regardless of the chosen area of concentration, an MFA candidate must be able to prove not only strong conceptual development, but also the skillful execution of tools, materials, and craft. This includes programs rooted in innovative uses of technology, collaborative work, or interdisciplinary projects.CAA supports each program’s determination of specific criteria for achievement. Such an evaluation cannot be formulaic or prescriptive, since art and design support complex relationships and reside within the landscape of continually evolving practices.The remainder of this document outlines specific standards and requirements for the MFA degree.
My immediate response to the Statement on Terminal Degrees in the Visual Arts and Design - what a bunch of Hooha!
DeletePlease refer to pgs 182-183 of our textbook. What I got from this information was with the influx of people benefiting from the GI Bill and going to college we did not have sufficiently qualified people to fill the role of college level instruction of the Arts to those who wanted to learn and participate in the arts as their way of life after college.
If one does go on to read the entirety of MFA Standards set by the College Arts Association it does make a bit more sense than it's aloof opening paragraph. What I think began as an effort to have college level qualified Art teachers has turned into a beast of performance expectations.
The discussion is on how we learn and teaching environments, especially in reference to the book we are reading. The readings focus on the various was artists created places to make art and ways to support making art. I have an MFA, and it was an intense 3 years of only focusing on one thing...my work and being able to defend my work. And it was a time of egos, insults and confusion. Not many survived or are even doing art today. Some are in related art businesses. All carry scars from horrible crits that were forms of attack and based more on friendships than art knowledge.
ReplyDeleteCAA supports the MFA because it is their baby. They have to support it. And more and more Universities are offering PhDs in studio practice ( As TTU does) because folks want more eduction or organizations want more evidence of advancement.
I am proud of my MFA.But I am grateful I have learned and experienced other ways of learning. For this book one of the main questions is How are the crafts treated in schools? How did they develop? How do we as artists look at crafts? How do we teach crafts?
On a final note, after 14 years in higher education I have seen some good MFA shows, some average, and some that I thought were a joke. And I have seen amazing work done in small 3 week time slots by MAEs..if there was a way an MFA could be done during summers they (and I am referring to the work from Junction and Fredericksburg) would rock the program.
how do you learn? What would the perfect learning space/place for you?
ReplyDeleteI'm going to say - I learn by exposure. I must be exposed to the material in order to learn it. The learning modem is dependent upon the space/place the learning takes place.
The perfect learning space/place for me is anywhere and everywhere!Learning is as constant as breathing - one must just be open to the moment.
I look upon learning moments as gifts. I can't pinpoint the moment I came to look upon learning as a gift but I know it is a culmination of experiences - many of which involve the narrow saving of my ass from the fire and many in which I could actually feel the neurons blasting in my brain, my soul expanding, or my heart smiling.
Learning is a constant - whether we realize it or not.
Wow! Thanks Future! I don't think any degree is a joke - all are hard work! On another note: Something I have experienced has been people's expectation has changed toward's my quilting. I think they think with this degree, everything I create will be a masterpiece! (or the "perfect piece" that Sarah talked about) I still think - as an artist you have to have many art pieces gone wrong before you find that one sweet spot. There has to be that determination, dedication and discipline of your work.
ReplyDeleteI thought PhD's were brought in to the mix because the more the universities hire the more research money they can acquire? My husband and I were talking about this last night - academic world vs reality - he sees a lot of this in the medical field right now - academics sitting around deciding our fate for medicine but sometimes practicality and reality dictate a whole different experience.
It is an on going conversation, which is why I love this class.
ReplyDeleteA follow up on the scars that can occur in an MFA program. I speak from experience because I was one of the ones who thought it was "cool" to make someone cry or leave the crit because they couldn't handle my comments. I actually thought it made me smart to be cold, distant,or tough on everyone. It proved nothing.And it did not make my art better nor did it help be grow as an artist or human being. I was never allowed to honestly deal with being a new widow, or an Adult Child of an Alcoholic. I was never allowed to show how afraid I was of everything...most of all, afraid of my inner insecurities.
ReplyDeleteArt saved my life, but I was disrespectful of the craft and others working beside me. I dismissed them and their work.
And that was the road you had to follow to get you to the place you are today. You had to go through those experiences and learn from them to become who you are today. More people than you will ever know are thankful that you, with your knowledge and experience, were placed on their roads of life. You have been so instrumental in developing many wonderful art educators simply by sharing your own experiences and knowledge gained! So, is that why you had to go through the awful parts of your life? I don't know. I often say that God put me in the middle school art room for two reasons. The first reason is payback. The second reason is because I remember so well the difficulties at that time of one's life.
Deletethank you...I am not sure those that I hurt would agree but I can say when I have run into them again I have apologized.
DeleteI am so very sorry you had such a horrible experience.Mine was so very different and I am still close with the 12 fellow peers who were in my program.On that note I want to say that I actually began my MFA 30 some years ago at Penn State University, where I was the only woman and all my professors were..guess what..men..they hated me and I lasted one year....However, I went back for my MFA almost 10 years ago and had a truly different experience so what I take away from this is that I think it really matters where you go and whom you work with as in any PHD degree program.really and truly all programs are very different.For example I worked with a woman from Cornell University and I chose the program because of her and her work and my life,my work everything about me would not be the same had I not returned to finish this degree at that university with those professors.I hope some of you do take away that that you need to do your homework before you consider entering in any higher degree program and it does take time but it is well worth it for sure.
DeleteI am thrilled to have the opportunity to get an advanced degree with studio art being the focus. Until I started this program, I assumed the MAE program had little to do with studio art, but have discovered the opposite. My frustration came with the impossibility to get an MFA as a part time student because I cannot quit my job and move to be a full time student. I have the highest respect for people who have completed their MFA because I understand the amount of work it requires.
DeletePaige, I had the same fustrations..and am soo happy that this program has such an emphasis on the studio.
DeleteI'm considering an MFA in the near future, depending on how the next two years or so turn out, so i'm appreciative of the opinions given so far.
DeletePaige, that's the same problem I'm having right now. It's hard to go to go back to school full-time for 3 years now that I actually have responsibilities. I'm glad I've still got over a year to make some decisions.
Wow, so much to read this week...everyone is bringing up some really good points. Here are some of my thoughts on chapter 7....
ReplyDeleteSurprised: One of the first academic jewelers, Phillip Fike really surprised me because of his experimentation and discovery of niello. I bet he surprised himself through all of the trial and error. Earlier on this post, a few of us were discussing the importance of the process and experimentation. In a way, I view Fike as an art scientist. His curiosity also reminds me of Voulkos and the Otis gang. So much inspiration can be drawn from these fellas. His cufflinks on page 242 impressed me, and I didn't even realize that they were actually cufflinks until further reading. So, that also surprised me. Amazing how he ended up just making cufflinks and fibulae in countless variations. One would think he would get tired of that but he did not.
Impressed: I will have to go with Mariska Karasz on this one. I love her backstory and her ideas on craft and art in general. "Meaning is born when the designer and the workman are one." (page 236) She improvised most of her work, which is something I've dabbled in when it comes to embroidery. She was also self-taught, which I consider myself. I like to "free draw" with my sewing machine on various materials: cloth, paper towels, denim, or anything I like the texture of. Her work on page 237 consists on linen, wool and hemp. I am drawn to her work because it helps me validate what I have been experimenting with when it comes to embroidery. A book that comes to mind is Pricked: Extreme Embroidery...a good read for anyone interested. Also, she had over 50 solo shows!! Impressive in my opinion.
Take Away: Way too many ideas to take away from this awesome chapter. "Things were made for experience and discovery." (page 227) Voulkos, Autio and Soldner's willingness to just create and experiment serves as a reminder to me that it's ok to mess up, and it's ok to throw all day and not come out with a single piece. Sometimes I think I have "potter's block" and just can't get anything right. It takes a lot of heart to persevere and reading about the Otis gang and their drive is inspirational. Although it was a "testosterone driven" studio, I could use some competitiveness in my art life. I am trying to find ways to do this, like entering shows and getting my work out there. After reading the section "Caught up in Teaching", it put me more at ease because sometimes teaching will take the front role. Sometimes my teacher hat is the one I may wear for an extended time before I get to put my artist hat on. Then of course we all wear other hats: sister/brother, wife/husband, mother/father, caretaker of someone...etc...
I thought a lot about that competitiveness as well, April. Does that drive us to create our best? One upmanship can go a long way! I always wanted to be the best one in the class, with each work I created. Not really learning the process then, or perhaps learning it better????
Deleteextra question : My Perfect Learning Space - it would be filled with visual inspiration, with access to an outdoor space and all of the materials I would need. My perfect learning space would also include some structure, but mainly freedom to create. The outdoors is special to me because I get a lot of inspiration and energy from it. Positivity would reign. Also the space would need to be available 24 hours a day because learning shouldn't have a schedule.
ReplyDeleteI should've posted before I read everyone's learning space. I feel as if I can relate to everyone! I love the outdoors. And your last comment really stood out. Learning does not have a schedule! We are constantly learning and growing in our knowledge one way or another. I know I have personally have had breakthroughs in art or even life in general at who knows what time of the night!
DeleteTAKE AWAY -
ReplyDeleteOne thing I really picked up from this chapter over the time period of 1950 - 1959 is many artists were able to focus more on their own wants of experimentation. Being a potter I devoured every word printed on Peter Voulkos and I think I see some of him in James Watkins and Von Venhuizen. They both have experiences of sneaking in locked art buildings to work with clay! The last paragraph on pg 226 especially reminded me of Von with his curiosity and ability to inspire by example and his dedication to keeping the clay studio open 24 hrs a day!!
I found the photo on pg 254 intriguing and loved reading how Glen Lukens experimented with slumping glass into his old ceramic molds and adding oxides! --As Artists we must experiment and play.--
John Paul Miller(pgs 239-40) experimented with creating granulated gold jewelry for TEN years! I'm fascinated with his encapsulating his textured surfaces with transparent enamel but have yet had time to research it. --Experiment & Play--
This comment has been removed by the author.
ReplyDeleteImpressed:
ReplyDelete“Karasz’s earliest embroideries, relatively conventional small fields of representational imagery appealing for a naive quality, depict farm animals, her children, her garden. She often adapted the lines and colors of nature, even as her work moved toward abstraction. (Figure 7.17) Horizontal passages can evoke landscape strata, while stitches recall patterns of fields and roads seen from on high” (p 236).
I never thought of using textiles as an avenue to showcase abstract imagery. For some reason, I naively envisioned weaving only incorporating traditional patterns of color and shape but Karasz’s artwork on page 236 opened my eyes to this medium’s potential.
Surprised:
ReplyDeleteThis comment is more like a reflection on one of the ways I perceive crafts.
After posting my comment about Karasz using weaving as a tool to showcase abstract imagery, I began to think of all the other “canvases” that artists use. Some may already have learned this years ago in their undergrad or are already aware of this as artists and educators. And with that, some may be surprised in my next comment: While I understand that in some cases there is not imagery added to an art piece’s surface, I am starting to see that no matter what the material, it serves a purpose of being the canvas that holds the artist’s work. However, in doing so on ceramic, wood, and textiles this allows the artist to create the surface that the art will be displayed on.
I love your thinking Jennifer! I think that is why I have fallen in love with material and embroidery so much of years of painting on canvas, wood, paper and walls. Its slower but that gives me time to reflect or put more thought into it.
DeleteJennifer and Kim - I agree - it satisfies the "control freak" in me, lol! When I visited with Kermit Oliver - he said that is why he makes his frames for his paintings - for that very reason- creating another element of the surface!
DeleteImpressed
ReplyDeleteYanagi Soetsu (pg 216) coined the word, "mengei" to give recognition to hand crafted art of ordinary people. He saw a beauty in pots that were made by everyday people and were being thrown away and lost to history in the 1930s as Japan began switching to modern modern wares. In researching this term, "mengei" I found a list of some criteria needed to say a piece is mengei:
"made by anonymous crafts people
produced by hand in quantity
inexpensive
used by the masses
functional in daily life
representative of the regions in which they were produced."
Yanagi, Soetsu. The Unknown Craftsman: A Japanese Insight into Beauty.
It was fascinating to learn of this term and the interchangeable usage of it with folk art & crafts around the world.
Impressed with Lili Blumenau I think because she "committed to a single Idiom". When you look her book up it really looks like it is from the 50's, but the information is still very pertinent today. The details of some of her work takes it to new levels for me. I just thought I was impressed with Lili, until I read about Mariska Karasz the simplicity of her embroidery, bold colors, and then eventually abstraction with embroidery, sos gave me hope that maybe I can attain that level. But 50 shows I no not have enough years left me to make that many. For a woman in the 50's I say way to go!!!
ReplyDeleteWhat surprised was how much I enjoyed reading the clay section of this Chapter. I usually start to get a little bored but this Chapter kept me going. Especially the Voulkos sections (which I will talk about next) and the Studio of Margaret Israel on page 234 last paragraph of her section. I feel like they just described my house right now. Which before made me feel like I'm not just a messy artist, I know where everything is (a little stacked in places), my chair which I have recouperated in is surrounded by art books, art magazines, journals, technology, pins for sewing are stuck in the arms, red hots to snack on, thread for beading, sewing and embroidery on the tables beside me, along with a water glass, wraps for my ankles, remote controls to my tv, etc. (all of you understand). I feel like now that maybe I truly just an Artist!
Take Away is mentioned above I want to make my classroom like Voulkos! I do to a certain extent, but I want to be more present, I want to work on my work or experiment with ideas in front of the students more. When I work or have a piece that is being worked on in front of them it influences all of my classes. I would just like to be a little more competitive with my students in experimenting with different mediums and in a more conducive environment that bells are not ringing and we can get lost in the making of art.
/Voulkos was an interesting character! I like how he was described as being more of an inspiration to his students. I love that!
DeleteKim I think working with your students is a wonderful way to relate their learning experience to a practical application. I try to always make work with my students, often doing the same project they are working on at the same time so they can see the progression from idea to process to finished product. Often times when I have students for the first time, such as an Art 1 class, students will come up and watch me paint or draw a piece and say " Wow you actually make Art?". That element of surprise that I make Art, often for myself and not as part of their assignment or project, can make them see the process of making in a new light. As something of self satisfaction and importance, not a requirement or assignment dictated to one from another.
DeleteI think that I answered the extra question in commenting to Gail earlier, but I would really like to add a place to my studio that I can research and read more to get ready for a project. I try when I experiment or make an art piece to do series of what I am trying to get across and I believe this program has taught me the importance of research before I start art making. So I need to dedicate an area in the studio just for that to remind me of the importance of contemplation and research on what you about to do. Again I am for big open places that you can invite a few friends in with you to create.
ReplyDeleteI agree Kim - I think this MAE has taught me the importance of research in my art making!
DeleteThis comment has been removed by the author.
ReplyDeleteThis comment has been removed by the author.
ReplyDeleteThis comment has been removed by the author.
ReplyDeletePlease excuse my mostly unfinished post today. I just broke two of my front teeth while eating dinner. I’m both extremely embarrassed and in considerable pain, so I’m going to take a pain killer, drink some scotch and go to bed. Not necessarily in that order. I’m posting what I have written so far along with some of my notes I made throughout the week and will catch up next week. Good night all.
ReplyDeleteSurprised: The sense of unease I get from looking at George Nakashima’s furniture. I had seen his work before, but not the two pieces in this book. I love his Conoid chair, because looking at it makes you think about sitting in it. Most chairs you just walk up to and sit down, but I don’t think anyone would walk up to this chair and sit down without giving it a good think first. I would have to examine it and think about its shape and the direction of the forces that would be involved in putting 200 pounds on the seat and actually consciously think about the object I’m about to sit in before sitting down on that thing. Both the chair and the table in the plate next to it give me a sense that they are very delicately balanced and are about to topple over, but are in reality very stable and functional objects. I like objects that make you think about them, instead of just using them and taking them for granted.
Side note: though I don’t particularly enjoy my job as a public health worker, every once in a while I’m reminded that it’s something that probably needs to be done…on page 223 the author casually mentions that Leza McVey “happened to drink unpasteurized goat’s milk” and as a result couldn’t work for two years. All natural isn’t necessarily always good for you! -step’s down from soap box-
Impressed: Leza McVey’s stoneware vessel on page 223 (figure7.7). When I first saw the photo I thought it was a sculptural piece and not a functional one. Then when I read the passage and made the connection I was surprised that it was a vessel, and I am really impressed with that design. There haven’t been many ceramics works that I’ve come across so far that have really made me really curious about the processes behind it, but this is certainly one of them.
-George Nakamura, architecture book. Homes of artists…ask Colby.
- Check Against the Grain book
Also, Paul Hultberg’s ”Little Fault” enamel piece. I would really like to see that one in person.
- YouTube enamel process
-
Take Away: Warren MacKenzie on making functional objects: “it is not a limitation, but instead a framework and support which frees me from the pressures of fashion and the excess of technical skills as an end in themselves.”
I'm sorry to hear that about your unfortunate accident! Ouch! I hope you are feeling better by the next week!
DeleteAs for the part about the furniture, I completely agree with you! I think it's great when people have to think before trying out something, especially when it's "dared" to be sat on. It's exciting and surprising.
Thanks! I do feel better this week after some dental TLC. Last week was pretty terrible. I was just eating dinner and I bit my fork. I don't know why or how, it just happened. I bit the very tip of one of the tines with the very edges of my front teeth and they just shattered. That's probably being a bit dramatic, but I do have the perfect outline of a fork tine etched into my teeth when I line up my top and bottom teeth, and my top tooth cracked down the middle, which does not feel good. Even a little bit...
DeleteMy take away: Wharton Esherick's comment on page 253 - love it and it is so freeing! "Handcraft vs machine crafted - using anything he can find to create the piece - Handcrafted has nothing to do with it. I'll use my teeth if I have to. There's a little of the hand, but the main thing is the heart and the head!" To me, that's passion! Love his attitude - he was just in love with creating from the ideas he had in his head and to him there was no difference if you used both in your process!
ReplyDeleteGail Ive seen paintings are extremely realistic and (that is not educated) calls it great art and wants to buy ite. Its frustrating to me because my art got pasted over because it was not perfect enough and I like the imperfections, if I wanted perfection I would hang a photo on the wall. Again just like you I think heart and head are where the real creating comes from.
DeleteSurprised:
ReplyDeleteI really liked the section of metalsmith or actually I mean silversmith. Being someone that is extremely hateful towards the course itself when taking it here...because I was so bad at it! I admire those that can do it and do it with such ease. I guess I forget about silver smithing especially during this time when we've studied and read about Tiffany, all of that is silver! So it's surprising that was even labeled as making a come back.
Impressed:
The ceramic section is huge! I enjoyed all of the stories of these instructors coming to a university to teach and even teaching some very prominent artists. lezas story was really inspiring that she seemed to gain success and respect from her art work when she was dealing with poor health.
Take away:
Ceramics is a really amazing medium. It sometimes seems to have no limits and experimentations on them are really interesting. I think when I started reading a lot of Leza Mcvey's Art, I started to wonder how large of ceramic piece does it become sculpture?
Extra question:
I like to learn on my own and my own pace. Sometimes I enjoy one on one with a teacher but for the most part is experimentation and learning from mistakes. I'm very laid back, especially with my photography so when I took photo at tech, I was very annoyed and stressed from the correct way to take a photo. Because high contrast black and white film isn't interesting. I love grainy photos, I like the bluriness some are and I hated being told that the way I've been taking photos have been considered not good. Artistic vs classical.
I will start with the extra question, regarding how I learn as an individual and how it fits into the broader context of academia and institutional education.
ReplyDeleteI found the statement at the beginning of the chapter that examined the rise in the MFA in not only the Craft world but the more traditional Fine Arts really interesting in that I’ve said essentially the same thing a hundred times when talking about graduate school and even undergraduate degrees in not only Fine Arts, but Liberal Arts as well.
“Soon any young artist or craftsperson who wanted to teach at the college level needed a Masters of Fine Arts degree (MFA). In Effect, the academic community created a marketplace for its own product.”
It comes up in casual conversation more frequently than I expected, the question of what do you do with a BFA or an MFA. Go teach is often the answer, or starve, become a barista, and so on. I have the same conversation with seniors as they think about what they might major in. It is a self for filling market in a way. Colleges and Universities have degree programs with no real career path outside of their own Academic world, or at the very least producing graduates with little to no regard for the job market demand. Now that problem will usually sort its self by supply and demand, but not always. One has to ask themselves, at the rate Universities are producing MFA graduate it is impossible for them to find work in adjunct jobs, little less tenure track positions.
I guess it falls back on what Future talked about with regards to who is qualified, and who sets the qualifications to teach. Does an MFA qualify one to teach College students? Does a BFA qualify one to teach k-12? I would say not really. Sure it might give you a good indication who a person’s abilities but does it mean they will be successful in the job?
I’d like to finish up my response but I have a group of furniture refinishing students about to start class in my room...As if Mondays didn’t suck enough as it these guys roll into my room once a week and trash it.
No piece of paper makes you a good mentor or teacher, only time and passion count. So why are we so impressed with pieces of paper that lead to nothing. I can only answer for myself...I used my time as an MFA student to learn a new process and to begin the life long journey of learning to express myself as an observer of life, as a participant in life and as a dreamer past life (in the present).
DeleteI hold there is no one answer for everyone...the whole point to find yourself and follow your dream. Studios do not have to be big , only your dreams/visions have to be big.
I am quite lucky right now with my studio situation. I think I use it more since I pay rent! it is in a small old building that is an art school for kids classes and some adult. I help a little with teaching and that lowers my rent some. I like having others around for an impromptu crit, or to bounce ideas off of others. The space is tiny and looks messy quite quickly! Right now it is perfect. I would love to have my own out building with more space and a better attachment to nature. Maybe someday...
ReplyDeleteThat sounds like a nice situation in the mean time Chris. My wife and I are house hunting right now and I am always looking at how I might re purpose a room for a studio, or where one might go in the future. A few houses on the top of the list have separate buildings or storage sheds in the backyard with electricity and that is absolutely a big selling point not only for me, but for my wife so I don't take over a spare bedroom ha!
DeleteDaniel, I keep seeing tiny structures that fit within zoning regulations. Most are designed as tiny houses, but really you could do just about anything. I know by my in-laws, they can put in any structure that is no more than 10'x10' without needing to get approval. It's a little small, but better than nothing.
DeleteMy perfect learning space would be a place on its own with little distractions with a handful of work stations. Weather and natural elements would be the “happening” things of the environment. The place of work would have large windows that opened to the outside and let in the natural air and lighting. Wind chimes would be heard among the birds and moving leaves. Hardwood floor, clean white walls with narrow shelves to display books and art facing outward into the studio space. Imagery would be pinned to framed cork board for inspiration. Work stations would include an easel near a window, a simple table facing the windows and an open space on the floor for when I want to sit on the ground and work. Pillows nearby to grab for added comfort when working on the floor or for reading in a corner with a sea glass mobile overhead catching the light and air movement.
ReplyDeleteI want to work here!
Delete