Welcome to one of my favorite books. It does not matter how many times I have read this history I always learn something new or make a new connection. This week's reading gives us some background and sets up the early beginnings for studio crafts. As you read, enjoy, think about what they are sharing and allow yourself time to let the information settle. I do not expect you to like all the art, I do hope you see all the art as pieces of a larger world. I am asking to step outside of your chosen medium and look/question/accept how these five materials (metals, glass, clay, fiber and wood) meandered and influenced each other and the artists who worked with them,
Each week I want you to answer three questions: 1. What surprised you? 2. What impressed you? and 3. What are you carrying away with you ? In addition I will add a forth question.
Share your honest response. If you refer to exact statement or fact give us the page number. If you want to share a site you found (because you will want to explore more about a certain artist or process) please tell us why you found the site exciting or what you learned from the new information. It means nothing to just say "go to this site".
I encourage you to comment to each other. I will comment to each post and then comment in general at the end of the week.
Question #4...what do you think is the relationship between studio crafts and architecture today?
Enjoy.
Surprised by: I was surprised the facts that there was a need to restore crafts to the realms of the art world. I don’t understand why they were ever removed from the arts- I suppose it’s because people viewed them as less valuable. I however feel they are even more valuable because of the handiwork that it takes to complete the piece.
ReplyDeleteImpressed by: I’ve always been impressed by Tiffany’s art work in glass. The colors that were achieved and the picture as a whole that was created just is amazing. The work of La Farge is less known to me, but equally beautiful.
Take away: Harmony. That’s one word that I kept going back to in the reading and pictures. Everything that was created had harmony and balance through their use of color and symmetry.
Relationship between studio craft and architecture: I think one of the things I noticed with regards to the link between studio craft and today’s architecture has to do with simple yet beautiful designs. I kept going back to Pugin’s table on page 3. I loved the simple design of the table and could easily see it in a “rustic” inspired room/building. One thing I believe we are doing is going back to our roots of design aesthetics.
I think it was/is a case of separation between fine arts and crafts in order to make it easier to write ( historian, critics and reviewers) about the arts and to apply theories in a neat fashion. Each chapter will talk more about this separation.
ReplyDeleteArchitecture will meander in and out of the studio crafts through out this class.
What surprised me the most is that George Nakashima's "groundbreaking" designs had their origins in such simplistic designs as Shaker furniture. They took such a minimalist approach to furniture. They were less concerned about design, and more about using and applying materials at hand to create something they needed.
ReplyDeleteWhat impressed me is that the people in this time period weren't thinking about "art", per se, they were thinking about survival. They needed something, they gathered materials and made it. Quite simply, an act of survival. Then, gradually, they began to realize, if I have to make it, I may as well make it my own! I don't need to make a plain quilt like everyone else. Boom: ART!
Man"s ingenuity, is what I am taking away from this chapter. It has never failed to amaze me. Since the dawn of time man has needed to survive. And has constantly had to develop the "tools" for that survival. Only recently have we begun to appreciate the beauty of what was born out of that ingenuity.
I agree with Katy on the studio and architecture relationship. As a furniture designer and woodworker, I see daily people wanting the rustic look. That said, there also are those wanting a more modernistic design. I hope I am still here when the two begin to merge. Almost did it in the 50's when Mid-Century Design furniture was becoming popular, but it didn't quite make it. But it will.
I have noticed the two styles merging at restaurants and NY type apartments. For example, there are a ton of restaurants that are attempting to mingle the sleek designs with chrome/exposed pipes and brick with plants and handmade wooden tables. https://www.google.com/search?rlz=1C1JZAP_enUS689US689&biw=1536&bih=759&tbm=isch&sa=1&ei=FfV3WofaJ4rW5gKttJiADg&q=restaurant+plants&oq=restaurant+plants&gs_l=psy-ab.3..0j0i24k1l2.1694.1694.0.2305.1.1.0.0.0.0.134.134.0j1.1.0....0...1c.1.64.psy-ab..0.1.133....0.ZE4b-ctUkGY#imgrc=_
DeleteA nice point...the work is made by folks who wanted/needed something to use.It reminds me of the saying, dont save your best china for company, use it yourself..treat yourself like company. As we continue reading this beautiful book I hope everyone is reminded to touch and feel the material.
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ReplyDeleteReading chapter one, I have already reevaluated how I view for the crafts and have a better understanding and appreciation for the process and creation that goes into ones artwork.
ReplyDelete1. What surprised you? First of all, I was shocked to find out that pottery was a gender role for men, and women were limited to certain art forms. I couldn’t live in an era like that! I was also surprised to learn that there was different in the two types of pottery. “Studio pottery” and “Art Pottery.” Art Pottery being the mass production was only for decorative middle class.
2. What impressed you?
I was impressed with Susan Frackelton’s pottery. Her passion for China Painting and pottery help her inspired her own craft that led to a business that was producing over 1,500 pieces a week!
The Tile Club impressed as well, and how they believe it was just another surface to paint on then what is was being painted on. The Tile Club really focused on the shape being a square. Most artwork you see nowadays are rectangular. I remember a professor once told me that square shaped paintings were harder to work with. I really never understand that statement.
3. What are you carrying away with you? What I took away from this reading was even after 200+ years ago, we still live in the same cultural standards where people don’t appreciate the hard work that goes into ones craft/art making. For example like pottery, shoppers expect to pay less because it is a simple bowl, but what viewer doesn’t understand is the blood, sweat, money, tears, and time that went into creating that one simple bowl.
I was thinking about that, too. When I have gone to sell at festivals, people try to talk you down on the handmade items you're selling. It is discouraging to see how little they appreciate them and don't understand that the price is very fair for something that has taken me many hours to make. You are not a machine that spits these items out in identical multiples. It makes me feel like they don't understand that supporting the artist means not asking for something for nothing. It's a struggle to survive as an artist and try to market to every socioeconomic group. By charging more for what took you time, you make it harder for people with less money to afford your goods. I do, however, want anyone that appreciates it to enjoy my art. Perhaps the solution is to create works at various prices to accommodate more people?
DeleteThis is why people have negative though of being a starving artist! And students in school feel discourage to because an artist and follow their dreams!
DeleteNot 200+ years, slightly over 100 years but your points are still valid. Most art was gender divided. And race/culture divided. Love the idea of a tile club.
ReplyDeleteI stand corrected it was 200+ years, I was starting at a different.
DeleteOne of the things that surprised me was seeing Tiffany's name in more than just the glass section of the chapter. Reading that he was well rounded in the arts and crafts world makes me appreciate him and his work even more. Also surprised me how much of a business man he was. I don't normally put the two and two together when thinking about artists and entrepreneurs but at that time, when it was all beginning, it makes sense.
ReplyDeleteI was impressed by the part that women took in this. How they took over some crafts that were seen more for men than women.
One of the things I highlighted in chapter one was a quote about/from Ruskin, "In all buying, consider, first, what condition of existence you cause in the producers of what you buy" because like it says, it's still relevant today. As one who follows a handful of artists on instagram, I am one to know the meaning of, "support small businesses". There is a difference when buying a mug created by the hands of my coworker, an artist, than it is to buy one from IKEA (for example)
What I got from this chapter between the relationship of studio crafts and architecture is the thought and detail of the aesthetics put into it.
I, too, was happy to read about how the women came into play in the art world. I found it funny to read about the two female China painters (Nichols & McLaughlin) that were at odds simply because one didn't invite the other to her club immediately. It was great to read about how these women started groups that united them and created businesswomen though.
DeleteI think the business aspect to art is a necessity that is overlooked in art schools. I am so tired of going to student shows and seeing prices in the hundreds or thousands. I just laugh...first you are in school doing the project for a grade and under supervision, and secondly,there is no telling if you will be doing art in 5 years.
Delete1. What surprised me was the part that Oscar Wilde played in all of this. I had no idea he went on speaking tours to promote decorative arts. That seemed so random to me. What also surprised me was that a philosophical movement based on resistance to industrialism is what sparked the crafts movement. I had no idea whatsoever that this was the case and the reason for it's existence. It is quite noble, actually. I was really touched to read about how the father's of the arts and crafts movement, on more than one occasion, pushed to educate workers by teaching them a craft and supported workers to have some creativity and hand in their creation rather than having them lose pride by merely assisting machines. Happy people make a happy society. People are most happy when they feel they have a purpose.
ReplyDelete2. What impressed me was Morris. He, more than any of the father's of arts and crafts, struck me as interesting. I would like to read up more on him. I guess it had to do with his convictions and how he would strive to take what he said and put it into action. Though he did end up using reproductions on some works, he tried very hard to stay true to handmade. He also fascinated me because he learned SO many different types of art. He seemed unstoppable. I love that he did embroidery when it was considered a woman's art and that he walked around with blue dye on his hands. What a character. I want to get wallpaper in my house after looking up some of his patterns and seeing how beautiful they were/are! How is that not more in style now!? I'm bringing it back!
3. What I am carrying away with me is that the arts really are a reflection of their time. I have been guilty of what they mention in the beginning of the book- people tend to take the person out of the arts. The artist's hand being evident in their artwork is what normally draws me to a piece. I am not attracted to perfection. If I wanted a mug that was flawless, cold, and bland I can buy that at any Walmart. I'd much rather have the mug with the glaze that dripped just a little bit lower on one side or the slightly wonky handle. It makes me feel connected to the artist and pleases me to know that my cup is the only cup like that in the world.
4. The relationship between studio crafts and architecture is a tricky one for me. I was confused about how this could apply to crafts until I came across numerous quotes throughout the readings. On pg. 2 on the last paragraph the author states, "In it, he (Pugin) linked morality, good design, and the Gothic style with a strong note of social criticism and disgust with the effects of industrialization...good design was held by its proponents to have both a moral impact and an ability to improve life." Also on pg. 4 at the top it states, "...design and architecture were not associated with engineering. At that time, to design meant to decorate, so to suggest that a designer should consider the structural properties of his materials was fairly radical." Rather than hiding the hand of the artist, the crafts promote it to be obvious. They also seemed to praise architecture that didn't try to disguise it's building materials. It wanted them to be evident, simple, and beautiful. Today I think we are still struggling with a mix of the two worlds. You have some new, interesting architecture coming out that incorporates nature, shows the raw building materials (brick, pipes, etc.), and really is being creative with the handmade, while others are so industrialized. It seems like more and more people are desiring for something that they can connect to and isn't so sleek and cold though.
Great insights Candie. There are still philosophers today mostly in academe. Where else can they write and argue with themselves? I may be harsh with that assumption ...it is based on years of reading and conferences and the reality of how few writer go into a studio to learn about process or about the personality.
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