This chapter is the time period I most relate to/with because my teachers represented the philosophies and attitudes from this wildly changing time. I still have a copy of " Objects USA" which was considered the art bible for 20 years. It cataloged an amazing show that exposed the nation to new ways of looking at craftwork. Also, the entire "hippy" movement, which was part of the return to the earth movement ,paved the way for crafts to valued. Whole Earth Catalog and other printed matter shared incredible information on how to do almost anything by yourself. In addition, hand dyed /sewn/ embellished clothing was popular. Alternative living styles championed hand made furniture and pottery.
In the art world textiles and glass come into their own, and metals and wood are not far behind. Clay never losses its hold on crafts but more importantly the other areas are catching up. National organizations based on medium began as a way to protect and share histories. These groups are still active and alive today. As you read, think back on your teachers and see if you recall any thing similar or close to what is presented.
For your extra question I want you to look up one artist mentioned and share with the class something not found in the book. Also why did you pick that artist.
A reminder, along you are to review on episode of Craft in America.
LATE POST CHAPTER 7
ReplyDeleteSurprised: I was surprised that art teachers didn’t need a degree to the teacher until after the war. This reminded me of my first elementary teaching position where I was at a district where the art teachers didn’t need to have a degree in art (it was an aide position, but I was the teacher). I was able to meet other art teachers in the district, and out of the 11 of us, I was the only one with an art degree. What a differences in the quality of the artwork when you have someone who knows what they are talking about vs. someone who doesn’t have the background, skills, and knowledge in the art.
Impressed: I was impressed with influence Peter Voulkous has during this period with students. I would have loved to attend one of his classes to see him exerts his passion and charisma. I did some research on my own on Voulkous, and I was blown away by his stunning, earthy, large ceramics sculptures! Like just WOW!
Take Away: My take away from this chapter is how to include history and clay into my classroom. I have always just jumped into clay without any explanation of history on clay of talking about any artist. After reading this chapter, it has given me many examples of artist that I can share their stories on how they were introduced to clay and creations.
Extra Question: As an artist, I felt that I have always struggled with pricing my work. I feel like I create because I want to, and not because I’m trying to make a name for my self. I also honestly believe that nowadays people don’t have an appreciation for art making. When you are buying a work of art from someone, the buyer needs to understand you are buying more than just a simple object. You are purchasing countless hours of hard work, hours of experimentation, and moments of pure joy. You are buying a piece of someone’s soul. Someone’s blood, sweat, and tears. This is why it’s hard for me too to sell my work because I get very attached to my pieces.
I, too, would have loved to take a class with Voulkos. It seems like he had such a delicate touch with complete control over what he was doing, yet his work is so raw. It would have been amazing to see him at work.
DeleteVoulkous came to Tech when I was an undergrad. He was everything and more. Intense. You could never look at or think about clay the same way ever again. The best gift he shared was a love of clay without any temptation...to literally smash it, tear it, throw it down. In other words to stop being shy.
DeleteAn area school district uses "aids" at the elementary and middle school level. Not only are most unschooled in art, nor are they artists on their own, they are paid much less. Trained or not they are doing the same job. One of my on going concerns is that so many art teachers do not make art or they do not continue to make art aside from demos and examples. I totally understand how life gets in the way of art making. I wonder what would happen if every art teacher was giving one class period a day to do their art?
First off- I'm jealous that he was at Tech with you! Secondly, what a genius idea to allow teachers one period to work on their own stuff! That would keep us fresh AND be a great example for students to witness!
DeleteHello everyone! I am back! I left single and return a married woman! Sorry for my lack of posting, but a wedding and honeymoon in New Zealand took up some of my time. I have been eager to get back to this book and class though. I thought of y’all and this class when I visited the art school at a Maori village and talked to them about their woodworking, weaving, and preserving their culture through it. I will share pictures later. I will be playing catch up, so bear with me. I will start with addressing the chapter for this week though. The weeks I missed will follow, as I read them.
ReplyDeleteCHAPTER 8
Surprised: I was surprised by the frustration with the exhibition judging and standards. It made me laugh to see the entry Isitshit. It was sad and funny at the same time. I was also pleasantly surprised to read that there were so many women (Tawney & Zeisler) starting their art careers or having break throughs at such an older age. It gives me hope!
Impressed: I was very much impressed with the precision, delicateness, and intricacy of the works by Kay Sekimachi. Nagare III is so beautiful and I cannot begin to fathom how she made it. The world of textiles have always impressed me, but seem so complicated and foreign. It’s like they’re speaking a different language. When I was reading about Tawney there was so much of the technical part of it that I didn’t understand. This makes me realize that although this medium is an important part of the art world, but very many schools teach it like they would painting or drawing. I don’t recall any classes being offered for this while I was in school. I was also impressed with the work of Arline Fisch (pg 276) and how she incorporated metal with fiber- so cool! I loved the “folksy surrealism” work of Simpson (pg 286). I would like to make funky/weird/colorful/folk art like this.
Take Away: As the culture and times shift, so does the mood of art. I know that it seems like common sense, but it fascinates me every time. As the hippie movement came in and promoted freedom of expression, the shift to expression in art over utilitarian art is so obvious.
Extra Question: The one artist that I chose to look into more was Claire Zeisler (pg 262) because wow! Look at the beauty of Red Preview! That is so amazing! It is so sculptural, has an interesting shape, and is so fluid. I noticed that most of her works seem so organic and flowing. I hadn’t realized the scale of some of her other works not listed in the book. I also read that most of her fibers were natural rather than dyed. She did, however, tend to favor red works. She was also honored in New York City by the Women’s Caucus for Art for her lifetime in art. She is one of my favorites so far.
Future- you’re right. I have heard a lot about Don Reitz from Von in class. He is very inspired by him and Voulkos and it shows in his style of artwork and teaching. I’d never heard of the two sculptors until taking these studio classes only to find out what a huge influence they’ve had on the world of ceramics.
Welcome back!
DeleteFor me the beauty of this book is how much I learn about the various mediums every time I read a chapter.
I agree, art is a reflection of its time while at the same time it is a projection of one artist's imagination.
This book will definitely take me several reads before I can absorb all of the great things that it has to offer. There is just so much! As I read I keep thinking about how much research they had to do to get to this point. Amazing!
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