This is a double reading but it is filled with great work. It is as if every field just exploded. Answer your normal three questions for each chapter (that would be 6 answers) and for the extra question pick one artist from either chapter that you would want to have a meal with...share why and a few of the issues/art making topics you would want to discuss.
We are almost at the end of the semester. Remember you have a DVD to review and a book to review along with a work of art...seems like alot but a side from one or two of the books they one night reads and the DVDs are delightful.
Enjoy.
This is the question from Chapter 8 that Future wanted me to repost:
ReplyDeleteI would love to curate a show that is craft art only for Fiber art, woodwork (including furniture) and glass. If money was no object I would find a large room in Austin (convention center) that would hold either a large show or have it broken up into small groupings of all of the art. I would have walls of warm natural colors, would prefer some kind of wood flooring with track lighting to highlight what I wanted it to.
Fiber artist: Kay Sekimach, Sheila Hicks, Claire Zeisler, Kerry Larkin, Eleanor Hannon and Mark Newport, Jessica Vellenge, From the book Strange Material - Lisa Lou, Jule ryder, Jorge Lizarazo, and Cecilia Vicuna, Yinka Shonibare - From the book Cultural Threads. Plus I would go on a hunt for emerging fiber artist that would include quilting, weaving, and wall hangings.
Glass artists - Dale Chihuly, James Carpenter,Joel Philip Myers, Richard Marquis then I think that we have some the best blown glass artist at Texas Tech (returning every summer) would love to have all of them in the show.
Wood - Arthur Espenet Carpenter, Sam Maloof, Tommy Simpson, J.B. Blunk and their are some wonderful funiture artist in the Hill Country that I would like to include.
Chapter 9 Question Spiritual?
Well I think the closets I have come to really the moment of Zen for me is this week during a "Plein Air" competition when I was sitting in a field of Bluebonnets and the buzz of bees and butterflies all around me were magnificent. It was early in morning and the sun was just coming up the shadows were wonderful on the field and I was using soft pastels when I kept hearing a buzzing around my head, I thought it was bees, but when I turned to look at what it was is was hummingbirds (hot pink sweater I had on probably helped) but the fact that when I turned to look none of them went away, I was eyeball to eyeball with them. (I felt like snow white)I started crying like a baby on the spot. Ok, does this mean that I love pastel or nature? I believe it was the subject that touched me, but I really love the pastel that I lost all time doing that morning.
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A relationship with nature is spiritual. In many minds it is the bases of all spirituality.
DeleteChapter 10 was just as interesting but it didn’t seem that anything new evolved with the “wow” factor. What interests me was based on design concepts: Wendy Maruyama designed with engaging the realm of feelings, The Golden Valit Banana Chair, by Mattia, had humor in design. Anna Currier – her work seemed to define space emotionally. Sonja Blommdahl, seemed to represent the sublime in stillness or peace when looking at her pieces on pinterest. What surprised me is that Dan Daily was able to rise above with his work even though comical art is always in danger of being thrown away. (P415) I would have thought in the 80’s that humor was widely accepted. Chihuly seemed to bring a sense of adventure in questioning what is acceptable in both design and market place ideas. He reminds me of the music festivals of the 70’s.
ReplyDeleteMy take away – that out of all the art quilters from the 80’s that they mentioned, Michael James and Crow. Jame’s quilt design ironically is now done through computer imaging and printing methods by Gloria Hansen. Also, the fact that Nancy Crow is mentioned as a pioneer (or maybe this still surprises me!) Her pedagogy = tears! She is an awful teacher! She has a reputation if she doesn’t like what your doing she cuts it up! I’ve heard several friend’s stories.
Gail I cannot imagine any teacher doing this because the loo on a students face when I just ask them to work on it a little more in certain areas and they are so proud of it. Some students get so defensive and say that I never like their stuff, but I try to explain that they used all of the tools they had, now let me give them some of mine (ideas) to move into the next level. But is some times crushes them that I did not drool over it.
DeleteGail I cannot imagine any teacher doing this because the loo on a students face when I just ask them to work on it a little more in certain areas and they are so proud of it. Some students get so defensive and say that I never like their stuff, but I try to explain that they used all of the tools they had, now let me give them some of mine (ideas) to move into the next level. But is some times crushes them that I did not drool over it.
DeleteWow, it amazes me that a "teacher" would choose destroy a pupil's property like that. I don't understand how being so harsh is supposed to make a better artist. I'm not going to lie, some studio classes in undergrad intimidated me because of the professors. I was never comfortable talking about my work with them sometimes, because I feared being put down. So, I try to do the opposite in my classroom; I want to cultivate an atmosphere free of fear and anxiety. Creating art shouldn't be terrifying.
DeleteI have a project where I have my students tear up three drawings without telling them that they are going to rip them up before hand, but I always start the conversation by ripping up a nicely finished drawing of my own in front of them. Of course, I would never do the tearing of their work myself.
DeleteYes, Nancy Crow teaches with intimidation. When I worked for International Quilt Festival in the Education dept - the two days she taught - the students usually filtered into the office to complain of her method. These were women in their 50's there for fun workshop so they all wanted their money back!
DeleteI can understand what Justin and Kim mentioned because it expands your thought process and I think approaching a student about their work is a sensitive issue handled with respect and care and to help them reach their full potential but not grabbing the students work and ripping through it to make a point.
Thanks for letting us know about a terrible teacher. Not surprised that a few bad teachers make it into a book that focuses on their work or reputation as exhibitor only.
DeleteI have known professors that thought it fun to literally light a drawing on fire..in class! or to tear it off the wall and stomp on it. One of the reasons I am so passionate about how I teach/react works of art is based on these professors. The Pedagogy of Intimidation is outdated and only causes pain.
DeleteWoe is Be unto anyone who willfully causes harm to my work. I agree, Future, the Pedagogy of Intimidation is outdated and only causes pain.
DeleteIt's unfortunate that such teaching was used. I'm glad you mentioned bad teachers, a lot of the times it's what pushes people/students away. Crushes them. Their are good artist out there but they may not be the best teacher.
DeleteReally?I do not understand professors who do this especially with sensitive and young art people...this can do severe damage to one.
ReplyDeleteIt is! I have a family friend who was damaged when he was in elementary school. His teacher tore up his drawing in front of him. He was a strong type though and still is an artist but was very disheartened at a young age.
DeleteThis is the question from Chapter 8 that Future wanted me to repost:
ReplyDeleteI would love to curate a show that is craft art only for Fiber art, woodwork (including furniture) and glass. If money was no object I would find a large room in Austin (convention center) that would hold either a large show or have it broken up into small groupings of all of the art. I would have walls of warm natural colors, would prefer some kind of wood flooring with track lighting to highlight what I wanted it to.
Fiber artist: Kay Sekimach, Sheila Hicks, Claire Zeisler, Kerry Larkin, Eleanor Hannon and Mark Newport, Jessica Vellenge, From the book Strange Material - Lisa Lou, Jule ryder, Jorge Lizarazo, and Cecilia Vicuna, Yinka Shonibare - From the book Cultural Threads. Plus I would go on a hunt for emerging fiber artist that would include quilting, weaving, and wall hangings.
Glass artists - Dale Chihuly, James Carpenter,Joel Philip Myers, Richard Marquis then I think that we have some the best blown glass artist at Texas Tech (returning every summer) would love to have all of them in the show.
Wood - Arthur Espenet Carpenter, Sam Maloof, Tommy Simpson, J.B. Blunk and their are some wonderful funiture artist in the Hill Country that I would like to include.
Chapter 9 Question Spiritual?
Well I think the closets I have come to really the moment of Zen for me is this week during a "Plein Air" competition when I was sitting in a field of Bluebonnets and the buzz of bees and butterflies all around me were magnificent. It was early in morning and the sun was just coming up the shadows were wonderful on the field and I was using soft pastels when I kept hearing a buzzing around my head, I thought it was bees, but when I turned to look at what it was is was hummingbirds (hot pink sweater I had on probably helped) but the fact that when I turned to look none of them went away, I was eyeball to eyeball with them. (I felt like snow white)I started crying like a baby on the spot. Ok, does this mean that I love pastel or nature? I believe it was the subject that touched me, but I really love the pastel that I lost all time doing that morning.
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I do not understand why mine is posting twice but after last week I am leaving them both and not going to try and delete anything.
ReplyDeleteI have been talking to few people in town that have a lot of antiques which lead me to the local barber shop (for the last 65 years), which in turn lead me to my coaching tennis partner (father in law is the local barber). I told her about my curating idea and she told me about a house the father in law owns that President Johnson's sister owned and he bought. Gorgeous old home the barber drives around collects antiques and he and his wife have furnished this old house (that they do not live in). They have made one bedroom the President Johnson room and have furnished with memorabilia from that era and all furniture from that era. Living room/den is totalling furnished with the 40/50's furniture (gorgeous solid heavy wood) and the furniture looks like they just bought it. Bedroom furniture has the pine cone knobs on the four corners of the bed post with a whole bedroom suit to match (not counting the barber and his wives wedding cloths hanging on the wall as decoration). This is just few of the wonderful eye candy that I got (not counting the claw foot bathroom) It was like walking back in time. Old house had floor to ceiling windows in every room with stain glass at the top of the den and living rooms. When I say floor to ceiling I mean 20 foot tall ceilings. (no air conditioner or heating other than a big fire place in the middle of the house. I need to put up some pictures.
ReplyDeleteI told her (my coaching friend) that she needs to talk them into turning it into a museum and or could I curate a craft show out it?
And advise them to get a million dollar donation!
DeleteA place like that definitely needs some preservation! Having a gallery room and filling it salon-style would be so neat! Or maybe the just the juxtaposition of modern work with the historical feel of the space would be interesting.
DeleteI’d like to say I’m surprised, but I’m not really, about how the art market has taken to high dollar paintings as a way to stash money. I’ve read a few articles that believe that this is greatly inflating the auction prices. Van Gogh in 1987 auctions for $53.9 million (p. 381), and last year a Gauguin sold for about $300 million. It seems like a strange world that is completely detached from the art making. Not to mention, none of these artists or their estates see a dime from these auctions and their astounding price jumps.
ReplyDeleteI find the work of Adrian Saxe interesting. The strange juxtaposition of seemingly disparate forms is right in my wheelhouse. I like the quote from the book, “It is a postmodern attitude to see more interest in contradiction than in purity.” (p. 399)
My take away is the discussion about how collectors affected the type of glass being made (p. 418). I made some adjustments in my painting about a year ago. I softened my imagery to make my paintings more approachable and less depressing to look at. I am pleased with the results, but I wonder how many times I clip my own wings to be more pleasing to the viewer. Is that a good thing? Should I just go crazy and see who tags along for the ride and who abandons me? I’m not sure. But it’s definitely something I need to stay aware of.
I was surprised anyone used Sculpey in serious jewelry making. I have some in the closet I played with on a project, but I never thought to take it seriously. I like the results that Steve Ford and David Forlano got from it, especially in regards to the patterning and color (p. 457). It’s funny how easily I can dismiss something as childish or unprofessional. I think it goes back to that fear of being dismissed by my audience.
I think that topic comes up again with Jocz and Brannon (p. 461). The two necklaces they make have the same technique and meaning, but everyone wants the pretty cherry over the cigarette butt.
I was impressed by Sergei Isupov’s work (p. 480). It works so well as painting and as form. It’s hard to tell which one is secondary. Usually one is employed in service of the other. Here they seem equal.
My take away is maybe I need to stop being so darn concerned with the audience. Or maybe I need to be more concerned. It seems like most people who end up in these books are here because they went out on a limb and tried something daring without concern as to how it would be accepted. At the same time, what’s the point of making and showing work no one wants to buy? SO, maybe I need to be more concerned with the audience. Paintings of horses sell like hotcakes! In all seriousness, I need to reflect over how much I feel the audience should dictate the specifics of my work.
I would want to sit down with Judith Schaecter. She and I are wading in similar waters. She and I use the same source material. I’d be interested to see what she was looking at, reading, and sketching.
About the Sculpey and jewelry making - there is SO much you can do, and so many great results you can achieve with Sculpey. I was surprised as well...My principal had me take over the jewelry class one year and Sculpey turned out to be my best friend that year. It is not too difficult to work with, it can be combined with so many other materials, and you get fantastic results with it. Some of my student's favorite jewelry pieces included Sculpey elements.
DeleteOn your take away- you're right - you can't get caught up in your audience. My belief is that the primary reason I make art is for me, then the audience (maybe). Of course that's only my opinion. I take commissions to make some bucks, but I would still rather paint my own stuff. Also, look on the bright side, maybe your work will sell when you're dead and your kids can reap the benefits!
April, I have used sculpey also for jewelry making and a food project using sculpey clay to make food inspired by Wayne Thiebaud.I think it's great with so many vibrant colors.
DeleteJustin and April - I believe I deal with that same vulnerability of creating from my heart and reactions of the audience - fear of the work being rejected. Some advice given to me - once my work on a piece is completed I need to detach or divorce the piece (lol). It seemed to help in my thought process but dealing with people at exhibits always makes me nervous!
DeleteGood response Justin. I have believed for a long time (based on my friends who actually make a living with their Western art)that commission work is WORK, hard WORK. We are not trained to understand the business end of art making or to accept that we do not have to make a living making art if we can accept the need for a "day job". In addition the impact of the internet has totally changed how art is viewed or reviewed. Think about competitions...often there are 1000 entries and only 30 are picked because that is the size of the space or that is all they want to deal with. The rest of the art can be great and they have paid a fee.
DeleteGail, It is difficult to create art that is so personal and to puy yourself out there for the entire world to judge.I received similar advise as you did but is it so easy to detach yourself if you truly put your whole being into creating an artwork and that is truly the only way to make one so true and honest.I did a series of paintings abut my father's passing and they were chosen for an exhibition and art discussion in front of a large group of strangers to me. When asked questions sometimes I choked up,in front of the entire audience the gallery director or owner said I should not display these works if I cannot discuss them professinally so now I am always afraid to talk about my work...
DeleteWow Susan - I think its a hard choice to elaborate on art work that is so personal - it is expression and when we work on an emotionally level about subject matter its bound to have an emotional response - I don't agree with that gallery director - I think your narrative is what attracts people or causes a shift in their thought process - the world needs this.
DeleteJustin, that is such a paradox. I may do a little artisans show in my little town, but I barely make anything functional, do not spend the money on set up or a tent, and then don't sell anything. My sculptures would not sell in that environment. Then I wonder why I even tried, and wasted the time, blah blah blah. I am just not doing it anymore. I is the tail wagging the dog for me. I want to work on what I like to make, and maybe something will happen. So I say....!
DeleteI would love to buy that cigarette butt necklace. As far as childish materials and methods go, it seems to me like they are becoming popular recently in a lot of different areas. Some really trendy restaurants in New York (the Momofuko restaurants) make things made out of cereal milk, like the overly sweet milk left in the bottom of your bowl after eating lucky charms.
DeleteChapter 10- a lot to sort through, but this is what impacted me the most:
ReplyDeleteSurprised: What honestly surprised me was that I really enjoyed the fiber/textiles section. I am trying to incorporate more fibers in my sculpture class I teach, and a few artists really inspired me. They also have one common factor that I can connect to: all of their work is emotionally suggestive. Jane Sauer's work combines textures and color to evoke moods and emotions. It's interesting to connect her personal struggles with her work and which mediums she chose to work with at different times. Funny she quit painting and took up embroidery once "there were children underfoot." I love the subtle symbolism in Maternal Visages on page 431. The linear qualities are calming, and the lean of the figures suggest a connection. Even without the title, it is easy to see the maternal (or paternal?) bond here. I also really enjoyed John Garrett and his philosophies on material. He said he "is not interested in topical subject matter- such as recycling - but simply in the visual power of commonplace, cast-off materials." (page 430). I totally relate to that quote because I love to dumpster dive, thrift shop, garage sale and find things to use in my work. I like to collage cast-off materials and old things to create something new to them. I always feel there is so much connotation in the material itself - like where it came from, what was its purpose, etc...I think I could spend all night writing about that topic.
Impressed: I think I was surprised and impressed with Therman Stanton's piece on page 413. I never thought about glass in that manner. It was really interesting to read about his process. The story behind this piece is impressive to me. "Each element is like a line in a poem." There is a story within his work and the platform his chose to tell it is so unique.
Take Away: The importance/need for emotion in art. Wendy Maruyama expressed the need for color to show emotion. It was nice to finally read about the artist who graces the cover of the book. Many textile artists did the same. One person really stands out for me when it comes to emotion in art. Arthur Gonzalez's mixed media pieces are so intriguing, I couldn't stop looking at the photo on page 403. I can only imagine the impact of the piece in person. There is so much emotion, I instantly felt a heaviness in my hear before I even read about the piece. The body posture, the hand helplessly hanging there, the vulnerability of the half nude boy is just so real. The artist didn't even need to fully render the face. For some reason this one was really moving for me.
April - I'm always attracted to color and the use of it for telling a story with in my work - I think sometimes I get to comfortable with the same and need to push myself further with different thought process. A great mag for understanding color is MIX magazine - it is a great resource. (expensive but worth it)
DeleteI liked Betty Woodman as well. The surfaces are very painterly.
DeleteYes emotional and painterly surfaces.We do not typically think of emotion when it comes to crafts works of art I think it is due to the materials mostly,but in this book we have seen some wonderful examples that are otherwise.
DeleteSusan - that is so true - I never put the emotion or narrative with my craft work and I feel I have gained from the examples of these artists we've read - so exciting!
DeleteWell I have to have a meal with Faith Ringgold,I truly admire her work and my students are just completing a unit about her and creating their own painted quilts. I relate to her process of painting on unstretched cloth as that is similar too what I am currently doing.It is that passion and love she puts into each of her painted quits that touches me most and the personal stories she tells.I would like to ask her how she dealt with the labels of her work as "folk""decorative"labels.
ReplyDeleteSurprised by Joyce Scott's work.She did not study jewelry formallly, however was exposed to bead making as a young girl and she did not care about craftsmanship and that scale in her jewelry. she is so different from typical people who make jewelry.but the surprise to me is that jewelry,her jewelry deals with similar issues my work does ,violence,sexism,racism page 437"What You Mean Jungle Music?" is a wonderful and important artwork that is jewelry how surprising..."no .precociousness"here.
Impressed with Lisa Hunter who actually quit teaching to be a full time artist..always impresses me but it is her process that really impresses me,unorthodox...combing materials working and just stooping when it feels right...cover layers of hand made papers,apply medium, add paint..That piece on page 467 Old Soul..is beautifully done,sensitive with layers of paper words mixed materials...subtle yet emotional I will look up he hostages piece sound intriguing...anyone who woks with deep intense and complex issues such as loss and remembrance impress me.
But take away has to be Nick Cave whom I saw and heard speak at the TASA conference last year.Of course he is from my Alma mater The School of The Art Institute so ok that resonates with me,so col... But it is his symbolism and how he integrates the materials is that I always remember. Those sound suits were such a new topic for me and all those materials he incorporates to make such beautiful complex costumes,amazing... I am sorry there are so many artists of interest here but I have to go to class and I could only chose one to have a meal with...
Faith Ringgold spoke at a Texas Art Education Association conference several years back. OMG, she was so spirited and delightful! Your dinner with her will be wonderful!!!
ReplyDeleteChris! I was there!! Wasn't it in San Antonio? I got her signature on a copy of her book, My Dream of Martin Luther King and I'm proud to have it. She was very patient with all us silly teachers clamoring all around her.
Deleteomg..don't tell me that...oh my...what did she day?did she show original works?or just slides?wow....
DeleteThat would be a fun dinner party with her! I've not met her but seen her work but only in books!
DeleteMy dinner party would be with Ginny Ruffner - I would like to discuss in detail her use of symbolism from her world of home and garden in her artwork. I would want to discuss her inspiration that helped her create her vocabulary in her work.
ReplyDeleteI would also want Annie Currier - I caught a video of her on Pinterest - she explained her thought on color. She says she is attracted to color and even in the winter - a stark difference from other seasons she still sees a warm or cool tone of color in the trees and it capture's her imagination with her work. Nature is a big deal to me - it brings such great inspirations!
Nice!I will join you all for dinner too.
ReplyDeleteChapter 11: (trying to re-post….blog keeps deleting my posts for some reason...)
ReplyDeleteSurprised: I wouldn't necessarily say I was surprised by Dorothy Gill Barnes' work, but I definitely intrigued. Her piece of page 466 was so neat, I shared it with my sculpture class today. I like that she collects from nature and makes something new, but keeps the true identity of the material. I connected her with Dave and Roberta Williamson from the PBS Craft in America episode “Process”. I imagine that couple being friends with Dorothy Gill Barnes. What Barnes does with bark and wood is so interesting, and she has figured out things I would never dream of. It seems that she works both small scale and large, I would love to see one of her wall pieces in person. She is able to provoke emotion by simply altering natural material.
Impressed: I think I am really resonating with Harriete Estel Berman at the moment. “She was frustrated by all the predictable routines…” (p. 462) It seemed that Berman wore many “hats”, she had married, set up a houshold and became conflicted on her goals in life. I think that sometimes I get so caught up in life, I lose time to be the artist I want to be. It's not as if I could completely become a hermit and make art. Although I wish I could. Responsibilities such as teaching and being a part of a family sometimes becomes more important. After looking at more of Berman's work, I came across a piece she did on standardized testing. Being a public school teacher, state testing makes me sick! Berman explains her process and gives some interesting behind the scenes photos on her site:
http:/harriete-estel-berman.info/sculpt/pencilPage.html
Take Away: To be honest, I did not even know that “studio furniture” was an actual term before this course. Roseanne Somerson uses furniture as means to explore memory and emotion. I stated to think about this and came to the conclusion that furniture effect us more than we know. Think about it: we use it from day one (baby carriage/cradle), and we rely on it to feel comfort, safety. It is something we rest our bones on daily. It can evoke so many emotions and feelings and will always be a part of our daily lives. It is utilitarian art. With studio furniture however, “The emotive drive often overtakes the utilitarian protocol...When someone brushes against a memory, spurred by my pieces, I then feel the satisfaction of having succeeded.” (p. 473) I can remember the couch my parents had in ourr living room when growing up;the feel of it, the smell of it (parents both smokers), and the comfort of the cushions. My brother and I would build cushion forts, and we would bounce up and down on the couches when our parents were in the other room. Now that I think about it, if I ever came across a similar couch, I think I would have to purchase it. Memories!
Dinner with an artist from the reading? That is something I need to ponder for another day or so...
It has been wonderful to read about the women in the American Craft history. From the very beginning, woman had an impact on the movement. Because of this I was surprised to read Gail Fredell and Wendy Maruyama were the first women enrolled in the MFA program in furniture at the School of American Craftsmen (SAC) in 1978. Even though the school had become, “fairly conservative since Wendell Castle left some ten years before”, the women were able to experiment multiple materials and methods.
ReplyDeleteI was also surprised to read about Gary Knox Bennett and his method for making furniture. “He never does preparatory drawings but makes his design decisions during the process of fabrication”. What little woodwork I have done, my method has to be the old hard rule, “measure twice, cut once”.
Totally inspired by Betty Woodman and her expansion of form and surface while never abandoning function. The idea of throwing everything on the wheel. She would use parts of her thrown pieces to add handles to her forms often creating interesting negative shapes. Looking on line at her Diptych or triptychs, I thoroughly enjoyed her paintings and shelves created to add an environment for her functionware. As a mostly 2-D artist wanting to explore ceramics and learn to throw on the wheel, I have debated on how I can mix the two mediums with success. Betty Woodman has given me many inspirational ideas.
My take away is the mind-set of Patrick Dougherty. I saw a special this recently on Patrick Dougherty, then stumbled into his exhibit in Houston at the Hermann Park. The idea of using local materials and volunteers to create his installation builds excitement, unity, and community involvement.
This is for Chapter 10 only
DeletePaige - I wasn't drawn to Betty Woodman's work - her style of painting on the ceramics left an incomplete feeling like I wanted to organize something - but I think she just challenged my thought on what could be and still be functional.
DeletePaige I'm from Houston and I would have loved to have seen the exhibit in Hermann Park.
DeleteI was also surprised that Gary didn't do much planning or preliminary drawings before working with wood. After reviewing some old interview footage of him and his wife, and listening to him speak about life and his work, it makes total sense. There is such a free spirited attitude with the man, it is only natural for him to just start working with the material. What a cool hippie dude!
ReplyDeleteI also feel I have been a mostly "2D artist" but am slowly being attracted to form, sculpture and most notably clay again like I have explained in last week's post. Betty Woodman has given me some inspiration as well!
April, I assume you are talking about Garry Knox Bennett? I greatly enjoyed learning about him as well. This following clip really shows his free spirited attitude as well as shares how he and his wife came to be together - very sweet. http://www.craftinamerica.org/shorts/garry-knox-bennett-on-roach-clips/
DeleteThat was fun to watch!
DeleteI really like his feature in the Craft in America series. He's got wine all over his shirt and has a lot of good quotes like "God bless the hippies, they liked anything ugly".
DeleteSurprised: The variations of a "Basket"! My goodness, the way the boundries of a basket were stretched was awesome. Patrick Dougherty's work is so fun. I have one of the posters of the Alice in Wonderland teapots and the kids love it. They imagine running in and out of them.
ReplyDeleteImpressed: Two glassblowers - Sonja Blomdahl's work is just lovely. So calm, serene, quiet and subtle, but absolutely beautiful. That technique of having two bubbles of glass together sounded difficult but she makes in look simple. Dante Marioni's classical shapes. The one in the book (page 452) is over 3 feet tall. These classical shapes with the almost plastic looking opaque colors make such a statement of contrast.
Take away, and I really want to take these away and keep them, Mary Lee Hu's woven jewelry. The fact that they are so gorgeous and wearable. I spent an hour looking at her stuff, and then planning a bank robbery to fund it. I love jewelry, and I am going to be stalking her. I should have dinner with her while my husband ransacks her studio!!!!
Dinner ( if not Mary Lee Hu) is Sandy Simon. I loved her pottery, and really liked the TRAX gallery and the promotion of functional pottery in San Francisco. (the gallery has a few of my favorites - Doug Casebeer and Alleghany Meadows on display right now!!!) It was not just about her work but how she shares the work of others and how she desires to make pottery a part of people's lives.
Chris - I agree with the basket variation impressed me too!
DeleteChris I teach a very simple form of indian basket weaving and this section really spoke to me, because some of students are really good with there hands and I need to up the game for them.
DeleteChapter 11
ReplyDeleteInterests me – Thomas McEvilley’s labeling 3 perceptions of Modern art: 1. Matissean – pleasing. 2. Transcendental/metaphysical 3. DeChampian – critical
I don’t think it’s that simple but I question and evaluate which I would be and probably pleasing would be my thought. I read an article about a stain glass maker in Victoria TX in the Victoria in Motion mag (March, 2016) and she labeled artist’s into two categories:
1. technical knowledge artist, 2. Transcendental artist – surpassing the ordinary organically.
I thought about how this would make a great first day lecture – based on beauty in our world so they could definitely appreciate art or understand more indepth and come to a fuller experience of an artist’s process and valuing it more. Still chewing on the thought!
Another artist who’s motivation for making art surprised me, Dante Marone. “Inventing is not my goal but perfecting something was” I feel as if I have pushed that wall of trying to “force” inventing something in the art quilt world – I think reading this book has really helped me to drop that “force” and just enjoy working with my art and perfecting my skill and motivation– what will be will be! I believe this comes from my “business” background – reading all this has just allowed me to define my issue and maybe just relax with my process.
Also, Rosanne Somerson’s definition of success as an artist, “The emotive drive often overtakes the utilitarian protocol…when someone brushes against a memory, spurred by my pieces, I then feel the satisfaction of having succeeded. (P473) I love that as well! I was standing next to my art in a show just inspecting it – and someone walked by and said, “I just love things that make me smile” – I thought, “I’d like to thank the academy!”lol.
After reading through this the 90’s decade for pottery they have really pushed boundaries on subject matter – seems to be a natural progression of art. (take away)
I really have enjoyed this book and feel like it has given me a better mindset of evaluating problems within my thought process of defining success and satisfaction, where I stand as an artist and my process in the art/craft world.
Nice idea from your local paper Gail. For some it takes a certain technical knowledge to transend a process.
ReplyDeletehttp://www.craftinamerica.org/shorts/garry-knox-bennett-on-roach-clips/
ReplyDeleteWatch and Enjoy! Would love to have a Gary Knox Bennett roach clip......
I'd love to sit down and share a meal with Gary Knox Bennett and get him to tell me about his "Nail Cabinet, 1979" although I'm sure he is tired of being asked about it.
ReplyDeletehttp://craftcouncil.org/post/garry-knox-bennetts-notorious-nail-cabinet - I was surprised the book didn't picture this gorgeous cabinet!
The above noted article shares information on how Gary Knox Bennett was influential in cutting American studio furniture loose from what it had always been and be more playful. I think it would be great to have Tim Burton there with us and listen to those two discuss fantasy furtniture!
I would love to ask Gary Knox Bennett the same question. Questions like "How did you decide the placement of the nail? Was it randomly placed or was there a process behind it?" would definitely highlight my conversation with him.
DeleteSurprised: Well, I went down the rabbit hole for several days this week exploring the history of Formica. this was particularly interesting to me because in the 1980s I well remember brief advertising of solid color counter tops and I wanted a blue one! This did not catch on in America's kitchens for countertops like it did in the art world because it scratched so easily and then Corian came out.
ReplyDeletehttp://amhistory.si.edu/archives/AC0565.htm
I am very impressed with Richard Notkin's sociopolitical work as well as his own interesting life story. His series of life size anatomical heart teapots particularly grabbed my attention.
ReplyDeletehttp://www.tikkun.org/tikkundaily/2014/02/22/the-teapot-that-saved-the-world-art-activism-by-ceramist-richard-notkin/
-This article offers a wonderful insight into the whys of Richard Notkin's chosen activisms. I am especially touched by this passage -
" Notkin’s image of choice to explore conflict is the heart: “conflict, even on a collective scale, really begins within individual human hearts.” Through this simple image, which he invokes in his Heart Teapot series, he investigates our dual capacity for love and violence. According to Notkin, “The Heart Teapot series was probably the most succinct in terms of investigating the seeds of human conflict, bringing it back to the image of the individual human heart where we sense that our emotions, both love and hate, emanate from that little organ.”
This comment has been removed by the author.
ReplyDeleteTake Away: Dale Chihuly, what a controversial man. Capter 9 gave a brief, but good (pgs 362-64) bio of him, points out what a good collaborator he is, explains how he came to be blind in his left eye and how an accident to his shoulder in 1979 rendered hi unable to lift. Now in chapter 10 I read about criticism of him using teams of workers to make possible his huge creations because "it moves away from the crafts movement ideal of the hands on maker". Hello? The dude has no depth perception due to the loss of sight in his left eye! Due to the shoulder injury he can no longer lift. Does that mean his artistic visions must be lost to the world? I think not. Makes me think of the so popular current phrase - "Haters gonna Hate". In my home town of San Antonio, Texas we have a fantastic sculpture of Chihuluy's at our main library downtown. It is titled "Fiesta Tower" and is displayed in the Atrium which is in the center of the library. The sculpture can be viewed from every floor and it is breath taking. In my mind because one person did not create every piece of blown glass on this sculpture makes it no less of a creation by one - Dale Chihuly. He was there coaching and coaxing at every step. In one video I saw of how he makes his huge pieces there were many times the camera caught him bending over one of his team glass blowers to whisper words in their ear or him blowing into the hot glass while an assistant held the rod.
ReplyDeleteJust to share one more story on Dale Chihuly - we also have a ceiling installation of his work at San Antonio Museum of Art that I love as much as our "Fiesta Tower". One time a guard came to be standing by me as I was standing with my head bent back absorbing the riot of color. I saw him out of the corner of my eye and wondered if he was going to tell me to move on because maybe he had read my mind that I wanted to lie down on my back and take pictures. He actually struck up a conversation with me about how he loved to stand under this instillation for a few minutes every day. Ha! So, I asked him - "Have you ever laid down here in this passage way and just looked up?" He responded, "Right after closing, when all the visitors are out of the building, I've been known to take a minute or two doing just that." !!! Then he told me, "We're not crowded, go ahead and I'll stand here." !!! My jaw dropped, he told me to hurry up. Dudes, I got to lay down on the floor under several hundered glass pieces of Dale Chihuly's and happily snap pictures til the guard told me to get up. OF COURSE I stayed til he told me to get up!
I love that museum and all the guards seem to have that same attitude.They have allowed me to get really close to this one art work there that I am in love with and have let me run back after closing to see that painting again with no one there...Can't say I like Chihuly's work though,too commercial for me and everywhere I look these days..I see the work.
DeleteEven Matisse had assistants help him while he was wheelchair bound. I never heard anyone give any slack to Henri because of this. Did Matisse have more of a leg to stand on (ha, no pun) because he was considered more of a fine artist?
DeleteWOW Paula...what a great guard! Making museums real.
ReplyDeleteChapter 10 – Impressed
ReplyDeleteNever thought too much about paperweights but took a closer look at some of Paul Stankard’s pieces on his website (http://www.paulstankard.com). Initially, I was immediately impressed how he captured these intimate floral arrangements in his glass. Watched how he made one of his “orbs” on a Craft in America episode. That’s when I was really blown away. These just aren’t flowers and bees just “captured" in glass. They’re delicate and intricate sculptures he MAKES out of glass and then places them in the middle of a glass sphere. I couldn’t believe my eyes when I realized the amount of detail and mastery put into his paperweights!
Chapter 10 - Surprised
ReplyDeleteIf your clay piece was a little “off,” James Watkins would sometimes say it looked “wabi sabi.” I remember wabi sabi mentioned many times in our clay classes. I remember pausing before dropping a piece in the trash and recognizing the subtle beauty found in the slight imperfection. It was a “wabi sabi.” The sound of this phrase seems to even denote a jocular poke of appreciation towards something lop-sided, and uneven, yet aesthetically balanced. Never knew the actual translation, because I understood it in its simple terms. However, on page 391, it was revealed to me that “wabi” means poverty, while “sabi” means imperfection and unpretentiousness. Good to know ☺
Chapter 10 - Take Away
ReplyDelete“All Chihuly’s vessels begin with an evocative intention, inspired by some real thing in the world and riffing off a quality until it is recognizable only in the loosest sense” (p 411).
As of recent, I’ve started to dabble in abstract art. I appreciate knowing how other artists come to form their versions of abstraction.
In the last chapter of this impressive book I was surprised and pleased to see polymer clay given a place of recognition. I was really surprised to learn of Pier Voulkos and her extensive work with polymer. Her Fall Leaves Neckpiece, 1993; polymer, telephone wire; 9.6 x is particularly inspiring to me with the blending of the beautiful colors from the vein to the surface of each leaf.
ReplyDeleteFUTURE, take a look at this one - Pier Voulkos, Faux Beaded Bead Necklace 3, detail, 1993. What does that say to you?
Impressed: I was happily impressed by many women artists in this chapter but one that really stood out to me is JANA BREVICK. Her conceptual piece - Everchanging Ring (1999) certainly plays on the magic of history and the recycling of precious metals. One is encouraged to wonder of the possibilities of the history their everchanging ring may contain when pondering "entire periods of jewelry and tableware" that have vanished into crucibles.
ReplyDeleteTAKE AWAY: Michael Sherrill! I love his work! I love his mud tools! So glad to see him in this book! My take away combines the polymer work discussed in this chapter and Micheal Sherrill's combination of metals and glass to create "organic romanticism" (pg 484). I would love to incorporate metal work/welding and polymer (polymer rather than glass) to try and create something as beautiful and permanent as his floral sculptures.
ReplyDeleteCh 10.
ReplyDeleteSurprised: After reading about Mark Lindquist and his preferred technique of using a chainsaw as a tool in wood turning, I Googled him and found that he is a normal looking guy. He looks like someone’s Uncle, and not like a slatheringly insane albino with an eye-patch and a hook hand wearing a trench coat like I had pictured in my mind. The man takes a chainsaw to suspended chunks of rapidly spinning wood. I just assumed he was insane and would at least have lost a finger by now. All that aside, I love his Oppenheimer piece. The subtle differences in shade of the woods used in the piece add to the appearance of a mushroom cloud.
Impressed: Garry Knox Bennett. He does not work with designs, but basically makes it up as he goes. This simply does not mesh with the way that most woodworkers go about their making. I’m in awe of his ability and his mental fortitude, because that has to be incredibly frustrating work. I love the introduction that he gets in this chapter: “By the end of the decade Garry Knox Bennett was recognized as one of the central figures in American woodworking, probably much to his amusement”. His attitude, as demonstrated in his Nail Cabinet and the way he might hide the only trace of fine woodworking inside a piece of furniture made otherwise entirely out of metal and plastic laminate, suggests that he is thumbing his nose at traditional furniture makers and still manages to become recognized as an important figure to the discipline.
Also, Richard Scott Newman, who intended to study physics and engineering, dropped out of Cornell to make banjos and guitars. Gives me hope for my future.
Take Away: A few things. Too much going on in this chapter to narrow it down. I have five pages of handwritten notes on just the woodworking section. Wendell Castle’s philosophy has given me a few things to think about. He began to make sculptures that were purely sculptures, but then would throw a drawer in there somewhere, making the piece suddenly functional. As the author says, “function undercuts the work’s identity”. This is the opposite of the work of a metal worker discussed in a previous chapter, who would make pieces that resembled functional objects, like a big spoon, but would put a hole in the dish of the spoon to render it useless. Function being undercut by form. This also reminds me of the movie that I mentioned a few weeks ago about glass blowers making pipes and the opinions that some studio glass artists stated in the movie, that the omission of the ability to smoke out of a glass piece by one of the featured artists would qualify the piece to be labeled as studio glass, without otherwise changing it. What is it about making something functional that immediately makes it “not art” in the eyes of the “art world”?
I also want to further explore the concept that Virginia T. Boyd presents in her quote on case furniture, that it is “covert, mysterious, revealing itself only in stages…that the moment of pulling a door, opening a drawer is a moment of suspended curiosity about the unknown beyond…thus there is always a sense of expectation when approaching a case piece.”
Chapter 10. There’s so much in this chapter that grabbed my attention. I’m going to focus mainly on the woodworking section in this post, with a few exceptions. First, Richard Notkin’s Cube Skull Teapot on page 405 is the best teapot I’ve ever seen. I really like the detail and complexity of the forms, with the simplicity of the finish. I want to touch that mushroom cloud on top. I really need to know what that texture is like. And second, I would like the answer this week’s extra question with: Patrick Dougherty. Despite all the wonderful and influential woodworkers discussed in this chapter, I think I would most like to sit down and have a meal with Dougherty and ask him about his sculptural “object-environments”. I would love to ask him about his journey to becoming an artist after being a health care administer and a stay at home dad and building his own house. He just seems like the kind of person who would have some good stories to tell at the dinner table. I would also love to ask him how he came to the decision to only work on commission, especially since his pieces naturally decay over time and surely his patrons know this from the get-go. His sounds like an interesting journey that I would love to hear about.
ReplyDeleteTyler, Notkin has a segment in the Craft in America show. I watched it once, but I was only half paying attention while I was working on my project, so I need to re-watch it.
DeleteChapter 11
ReplyDeleteSurprised: Ginny Ruffner would smash her student’s work if she didn’t like it? I’m not a teacher yet, but that seems like a bad idea to me. I get her motive, but still. That’s a pretty violent act, and I can’t imagine being a student and have a teacher react in that way to something I wanted to make.
I was also surprised at the words chosen in this chapter in describing Josiah McElheny. On page 452 the author describes him as being caught between craftsman and artist, with other craftspeople not able to understand his intellectual framework and artists not able to understand his devotion to craft…this seems to suggest that craftspeople are too stupid to get art and that McElheny was too intelligent in his work to be a craftsman. This irked me. I was also already frustrated with the author at this point because of the editing choices that were made as far as what images to include in the book, so that didn’t help. McElheny was described as being incredibly influential and interesting and the descriptions of his works sound absolutely fantastic, but there wasn’t a single damn photo! Very frustrating. I know I can just google it, but still, it’s annoying and it seems like a strange editorial choice that bugged me today. This happens in another part of this book, when talking about the jeweler Keith Lewis. The author describes some pieces that I would love to see, and would make complete sense to show as they would complement the text, but the only work pictured is a piece that is described as only making sense if you see the back of it…and they don’t show the fuc#ing back! Incredibly frustrating chapter here…
Impressed: William Morris. Six figure prices on pieces, for a contemporary artist still producing work (at the time). Retired at age 49. I almost want to change my answer to which artist I would like to have a meal with, so I can pick this dude’s brain and steal his secrets. Critical acclaim and artistic relevance be damned if I can make that much money doing something that I love to do.
Daniel Jocz. That Cherry necklace. That is amazing. It’s amazingly beautiful and well-crafted and vulgar as hell. You don’t need to read the passage to know what he’s trying to do there, and he does it well. I would like to see the cigarette necklace as well, but again, the author was seemingly trying to intentionally piss me off when writing this chapter.
Take Away: The biggest take away from this chapter, and really from this book as a whole, is that the best craftspeople have a good sense of humor. While I usually don’t like work that is overtly sarcastic, it seems like being a bit self-deprecating is a good mindset to be in when creating. I’m going to look more into Daniel Jocz for sure.
Good catch on the ongoing, still not resolved issues of what is too much craft vs what is too much art. I think this is the question we all have to continuously ask ourselves, along with what is the price of my work. As for the lack of images...imagine if each artist mentioned (which I agree I would love to see) had an image with their name: the book would be a foot think and cost $200, plus it would weigh a ton. I am amazed that there is so much information. Every time I read the book I discover or maybe I am just drawn to some new thought.
DeleteAs a teacher, I know! I don't think I could ever smash my student's work but when I think of Ginny Ruffner...maybe I'm just really really liking her too much, I see that she was trying to stir her students minds into using their own. Surely it was all for good intentions...
DeleteTyler, also I think there is something beneficial to my students holding onto their mistakes. If they were destroyed, they couldn't haunt them the way they do and I don't know that they would learn as much. Plus, it helps when they come across a failed work to see how far they've come.
DeleteFuture, I really did like the book, I was just getting frustrated with that last chapter. It was probably because I was in review mode while reading the other book for the class.
DeleteWhich artist would I like to have a meal with? :
ReplyDeleteKathy Butterly would be an interesting person to sit and chat with over a meal. I am drawn to her work and the "humor, affection, and giddy femininity." If an artist is able to be engaged in human comedy, I would think we could share the same views on some things in this world. I often use humor to get through my daily life and reach students. She seems like a clever gal, and I would want to know more about her process. I think I would ask her about her surface decoration techniques and why she choose to work very small. Right now I am working small in clay because I don't feel quite comfortable working large yet, but I am starting to ask myself "why go big anyways?" Maybe we could have some lunch or grab a coffee then talk and work in the studio for a while.
So I've got a little catching up to do!
ReplyDeleteCh.9
Surprised: William Daley.When I looked him up I did not expect for his work to be the size they are. Beautiful work! I love his process of work and how abstract it is too. He has a very raw yet wonderful craftsmanship about his ceramics. Although I really loved his sketches! Again I have to go back to my roots of drawing and sketching so I feel I can connect with him in that sense.
Impressed: Richard Mawdsley. The feast bracelet!! Wow! I couldn't even imagine the amount of patience through all that! Such intricate detail little pieces. Particularly the pots and cups on the minuscule table.
What I take: I guess a little bit more openness to abstract art, even if it's just a hint. Learning to be loose in your art. It's crazy what you can discover getting out your comfort zones.
Spiritual side: I do have a spiritual influence in my work. there is good and there's bad in this world. And there Are different ways to handle it. I walk in a faith that provides ways to handle such issues and with that I use to create my work that shows the supernatural and difficult decision versus the natural response a human would do.
Ch.10
ReplyDeleteSurprised and impressed:John Cedarquist! His work is incredible!!! His work is so captivating to the viewers eye. I was so confused by his work when I saw saw just because it's kind of mind boggling when you look at it. It wants to look flat but at the same time it doesn't. As he says perfectly," He wanted to explore furniture in 'two-and-a-half dimensions.'"p.387 And he sure did! With a growth of appreciation for furniture and my love for drawing (especially cartoons) I would have never thought putting the two together.
What I take: Reading about some of these artist's pasts remind me that it may not be there initially intentions to be in their field of art hadn't it been for something maybe not going as planned. To think you'd be doing one thing but end up doing something else is a little crazy to me, but guess how it goes sometimes.
Ch. 11 I can't help but be impressed always by Nick Cave. Such a fascinating concept and wonderful and invigorating pieces!
ReplyDeleteSurprised yet not how this chapter starts. " The 1990s seem to lack a personality-perhaps because they are still too close or perhaps because they really did ." Technology has com in and took over a lot of people's attention and in a way personality as it has increased. It's swirly unfortunate.
I had forgotten to put the artist for ch. 10 so I'll do it together: I would love to a meal with John Cedarquist and Nick Cave . I think certainly asking them questions bout their thoughts and process of their work and how they deal with what people have to say and think of their work.
I agree, Nick Cave seems like such a strange and unique person just by viewing his costumes! I think he would be very interesting to sit down and converse with!
DeleteThis is only the second time I had heard of Nick Cave, and both times I was taken aback and vowed to look into him deeper. This time I'm actually going to have to do it. I saw a presentation at NAEA about a project where students created wearable art, which I think would be an interesting project to do with students, but I am not sure I would even know how to go about it.
DeleteThank you all for exploring with me.
ReplyDeleteChapter 11 – Surprised:
ReplyDelete“They conducted a focus group to discover the public’s reaction to wood with knots and other imperfections. Euphemisms helped, they found: if they called knots and wormholes ‘evidence of the random workings of nature,’ responses were more positive” (p 469).
It was surprising to find that these imperfections were seen as unsightly at one time; whereas now, I believe that these features are such a rarity and represent a beautiful addition to any wooden design.
Chapter 11 – Take Away:
ReplyDelete“Peter Pieroban started incorporating texts in obscure languages. He used Celtic runes on a clock as cast-bronze elements applied to the surface. Some years later, he used International Sign Language. His favorite device was Gregg shorthand, a system of curved glyphs that can appear highly abstract” (p 472).
I’m always looking to find new ways to add texture to my work. I especially am drawn to texture that incorporates more linear properties. With using obscure languages as a design element, I like that a “message” can appear simply as an abstracted texture, for that matter.
Chapter 11 – Impressed:
ReplyDeleteI was impressed with the community engagement involved in the completion of Tom Joyce’s Baptismal Font (p 463-464). In accepting iron from community members to forge the iron component of the font, it provided a great opportunity to bring the community together in a place that institutes such ideals already. Furthermore, in a setting that typically withholds and embraces symmetrical design, I appreciate an asymmetrical element brought into this space, as I feel it provides an unusual yet memorable addition.
Dinner:
ReplyDeleteI sometimes believe that my life isn’t balanced. I spend too much time doing some things, and not enough time doing others. I find it difficult more times than less to be pleased with my priorities. Because of this I would want to have dinner with Daisy Youngblood. I would want to ask her about her Jungian studies, how Zen philosophy influenced her thought process, and how she found and discovered a balance in her work and life.
Chapter 10
ReplyDeleteImpressed: I’m both impressed and surprised by the evolution of textiles in this chapter. It’s evolved in using so many different mediums like Charcoal Drawing on page 432…there’s just something about it that’s so unique!
Surprised: In the beginning of the Glass section, they talked about how women really started to dive into the art form and take control in their art which is really cool but most of the artists mentioned were male :/
Take Away: Textiles is really cool in this chapter and how it is sort of mixing with jewelry and metal and earth. I’m seeing a very blurred line in the form, which can be said about any of the mediums but this one flowed very well in the chapter!
Chapter 11
Impressed: The glass by Ginny Ruffner. Loved her story of overcoming such a disaster and applying it to her art of glass. The large scale is pretty beautiful, I never thought of glass being used that way!
Surprised: Again the glass by Ginny Ruffner!
Take Away: Theres obviously no rules to any art mediums!
Extra Question: I think I would sit down with Ginny Ruffner. Mostly because her art was powerful before her accident but even blossomed afterwards. I see where she was speaking though her art. Even if it was the pain of the time lost or the hardship of learning everything again. The fact that she took glass to the way beyond level, setting the bar and even standards and there’s no limit to what you can do with such a complex form of art. It takes a lot of muscle and planning to do something like that!
I am impressed with Helena Hernmarck's "Sailing" I want to climb in the book to touch it, I want to see it up close and see how she did it. I tried looking it up, but no photo I feel can do this justice.
DeleteSurprise with Lia Cook "Pressed X" weaving pattern. The complexity of it would love to be a fly on the wall and watch her do this, plus she paints over them (I could handle the painting part, but its the complexity of the weaving, it almost hurts me the thought of the weaving being covered up.
Take Away I really want to try some tapestry style weaving and maybe paint some over them?
I am impressed with Helena Hernmarck's "Sailing" I want to climb in the book to touch it, I want to see it up close and see how she did it. I tried looking it up, but no photo I feel can do this justice.
DeleteSurprise with Lia Cook "Pressed X" weaving pattern. The complexity of it would love to be a fly on the wall and watch her do this, plus she paints over them (I could handle the painting part, but its the complexity of the weaving, it almost hurts me the thought of the weaving being covered up.
Take Away I really want to try some tapestry style weaving and maybe paint some over them?
Sorry above was suppose to be Chapter 9's thoughts
ReplyDeleteSheila Hicks is who I would like to have dinner with. I love her scale of colors or very few colored patterns that she uses. She is spoken about in the book for over 30 decades. She has traveled and learned in Paris and Mexico. She seems to be a "teacher" / "Mentor" because she is referred to many times in this book from other artist (so much that even Barbara Chase-Rioud was married in her house in Mexico)
ReplyDeleteSheila Hicks is who I would like to have dinner with. I love her scale of colors or very few colored patterns that she uses. She is spoken about in the book for over 30 decades. She has traveled and learned in Paris and Mexico. She seems to be a "teacher" / "Mentor" because she is referred to many times in this book from other artist (so much that even Barbara Chase-Rioud was married in her house in Mexico)
ReplyDeleteSorry above was suppose to be Chapter 9's thoughts
ReplyDeleteI was surprised to read about Judith Schaechter’s history of painting nothing but cats at RISD. I laughed thinking about all the students I have had that only want to draw one animal. In addition, the fact she went from what I imagine as cute kittens subject matter to, as she put it, “My main interests are sex and death, with romance and violence the obvious runnerups”, once she created stained glass art. Also a surprise it the mix of traditional and decorative bands to frame her “jarring” subject manner. On page 456, “The experience is both thrilling and disorienting.”
ReplyDeleteImpressive is Randall Darwall’s desire to create high quality, useable textiles with a “sensuous feel and subtle, glowing color” while keeping the his shop a cottage industry. Workers are encouraged to work freely. Establishing his purpose Darwall states, “A handweaver is a human who can change its mind, something still impossible for the machine.” Appreciated also is his aspiration for his textiles to have a spiritual content and want the user to feel a sense of connection.
My take away for this chapter is reading about the awareness of depleting the rare hardwoods, the destruction of the tropical rainforests, and the Woodworkers Alliance for Rainforest Protection (WARP). This take away leads me to who I would want to share my afternoon and meal.
Dorothy Gill Barnes and I would first have a walk around the woods outside her Ohio home. Discussing the environment and collecting materials for her next weaving. I respect her use of only trees to be thinned out or removed and the windfall debris. When we would sit down to our picnic, we would discuss her “dedroglyphs” technique, her stone wrapping, and her weaving of fern leaves. Of course, I would imagine this little older woman as described in the book using her power tools with ease as we ate organic dark chocolate.
Comments about chapter 11
DeletePaige- yeah, everything about that short bit about Judith Schaechter intrigued me. It made her seem like she was just off the wall bonkers. I'm trying to picture the kind of person that would have all of those attributes.
ReplyDelete