You do not need to post on Chapter 6 till the 18th. I will give you your extra question later in the week. Enjoy the spring break. This is a good time to begin work on your final project.
I think it was surprising to read the history regarding wood and furniture in the “Modern Moment”. I guess in this day and age quality furniture is expensive and hard to find, so anything that alludes to a piece being less mass-produced is a good sign. (IE looking for a dresser with a solid wood top vs. a veneer) I guess I was surprised to read that during this time arts and craft ideology was viewed as old fashion and that if pieces were handmade in shops, signs of this were hidden. I am not a huge fan of industrial furniture, it just seems to cold, which means I was a huge fan of Wharton Esherick’s work (page 171). I loved the staircase in particular and that it was built for his own home.
Impressed:
I am really enjoying how this book highlights so many different people from different backgrounds. I think it is refreshing to read about those who were successful because their work was accepted by the “experts” of the, and those who were successful despite being discounted by “experts” or organizations of the time. Russel Wright’s story was very fun to read (found on page 163-164). I loved that his work was unconventional and inspired by the organic. Aesthetically his work really appeals to me. I loved how he is known by some to have created the most popular dinnerware despite the fact that he was discounted because he didn’t have formal training. It seems that sometimes the opinion of very few can influence the masses, as did the founding director of MOMA, but at other times that is not the case.
Take away:
I think the big take away from this chapter is how studio craft and history are so intertwined and that it may be near impossible to isolate one from the other. I particularly liked the part in the reading that talked about the California Pottery. Just looking at the colors used in the glazes evokes a simple, light, and bright feeling, something that was much needed after the Depression. I’m not certain that this was a direct reaction to Depression, just speculation, but throughout the reading it was interesting to see how history and craft impact one another and reflect on each other.
What would I like for my education/learning/growing:
I feel like formal education is a double-edged sword for me. I really benefit by having deadlines. It motivates me to get things done and forces me to not hyper focus, as I can get too detail oriented. The downside for me is that sometimes I may be given work to do that I’m not interested in, this doesn’t mean I can’t learn from that work, but it does mean that I might be taking up time that I could spend doing things that speak to me a bit more. I think that workshop type classes work well for me (Penland type setup for example). I can seek out the classes I am interested in without worrying too much about how they fit in to my degree plan. They also act to give me focus because there is a start and end and some set of expectations. This is actually how I plan to further my education in the future.
Through out this book the works called or labeled craft and the work referred to as art will be at odds then come together for a bit.I think this dance continues today. What does it take for a process to be called art? Who decides? I agree with your take on learning and I think this is what you were a part of while a fellow at the Print studio. People came to learn, grades were not an issue and you could continue to learn till you were happy.
Chapter 5 1. Something that surprised me about this chapter is how furniture continued to change and transform into many different designs based on the creators inspiration. The amount of designs and unique combinations were endless. Also after the 1930s, I realized how much the artistic view of furniture was changing. More and more people were enthused about it. 2. Something that impressed me was how there was a Hispanic craft revival. The nation came together to restore certain artifacts. Although the appreciation of Hispanic culture grew due to this there were a few negative influences from the European side of things. This wasn't a big negative effect as much as a positive effect overall to spread knowledge about this culture. 3. The take home message for me was that even though the depression took alot away from art the people were still able to register themselves and reawaken the love and appreciation for cultural arts and crafts. At their lowest points people still kept hope alive. Where some arts were brought to an end, new arts were awakened. 4. I would love to know more about the human body and how it works in regards to medicine. I have a strong appreciation for our bodies and in order to be a pediatrician I must know everything about it even on a cellular level. Now it may seem weird that I am in art but art helps me maintain a certain level of sanity as I force myself to understand the endless concepts I must memorize in medicine. Id like to take more hands on classes where I can see how things work in our bodies rather than always reading about them. I wish there were more hands on classes in general, they grasp my attention and help me learn and understand the material better.
I think one of the issue about the Hispanic Revival was the way tourism and sales (where the galleries or managers take a large percentage of the price)influenced the design and certainly the interpretation of the work, and how those words found their way into the art history book. I think art has the possibility to heal. Really. Allowing the mind to wander and seek new connections, to calm the heart rate and to bring a smile when completed. I cant wait to see what you do for your final.
LATE POST Chapter 5 Surprised: I had never thought about making the connection of woodworking to making commercials and advertising to the market industry. I was also surprised to read about how a lot of these studio shops were set up in peoples garages and basements and ran by families and not a designated shop and companies.
Impressed: I was impressed with the preservation of craft traditions and education for the everyday people were common goals of federal craft programs. Especially with the ceramic WPA program and how successful the program was with over 600,000 people. I discover on my research that they set up over 100 art centers around the country that served an estimated eight million individuals
Take away: form this weeks reading, I am taking away Allen Eaton Philosophy on craft making. Eaton believed in the importance of please in the work you do and self-worth. I think that this is important to all artist to understand where they stand in their own art making.
Extra Question: As for my education, I wish that my undergrad offered more hands-on experiences with student teaching and being in the classroom. Only classes I remember from my undergrad were all the art history and learning how to write a 2,000-word lesson plan because everything needed to be written out. I’m in my 3 years of teaching, and sometimes I feel that I am learning things that I should have learned back in college. For example, how to deal with parents; learn more about IEP regulations, and how to implement them it in my classes, and documentation. These are just a few things that I struggle with and many more. As for student teaching, we need mentors that sign up to be ok with the fact that someone is coming in to learn and eventually take over the class and gain the process of teaching. I once had a mentor for seven weeks that didn’t allow me to help students because she felt that I would teach them something wrong. Towards the end of this semester, I started to believe that teaching wasn’t for me because of this mentor. The art education department that I went to need to reevaluate what is important for our future educators to learn and to make sure that we are guided by educators who are just as passionate as we are.
I am so sorry you were not in our undergrad program. Our pre-service students do 2 to 3 outreaches where they are in actual classrooms, working with good teachers and doing one lesson. And I work very, very hard to make sure supporting art teachers are just that. SUPPORTING. I can tell you that any teacher that did not want you helping students was a fool and afraid that you knew more than they did. As you know there is no "wrong" way to do art. Art is about breaking all the rules and then making new rules for yourself. I think we have forgotten about woodworking. It is assigned to shop and then limited to a few boxes.
As I was checking this site I noticed I had not added the extra question. I apologize. I spent the break in the studio. Some things work, some things did not work and had to be done again and again.I was also struggling with how to begin a new piece...trying to collaborate with two artists. This morning there was a little rain (first time in 100 days), so I built a small pinon fire, had my cup of coffee and sketch book, while covered with a quilt from my sister and just allowed myself some peace. Perfect for a break through. A great ending to the break.
I loved this chapter. The concept of foundation classes as "extended torture" made me laugh. True even today. Interesting also that this was the time that crafts were funneled into high schools while arts were directed to higher education. And I always come back to the conversation about Anni Albers and her success due to her articulation. One of my not so subtle hopes for all my classes is that artist begin to understand they can and I believe should learn to speak for themselves past some vague "the art says it all" or even worse some very vague statement filled with unrelated $10 words.
So no extra question. Instead tell me you thoughts on your final work.
Week 6 Surprised: I found it very interesting that these colleges wanted to enhance the program with foundation courses. You learn in art history how the “Old Masters” learn from drawing in still life and models. Nowadays, it’s a class that you really don’t need depending on your field of study. As a freshman at the school of arts at UNT it is mandatory that you take Design 1 and 2 before you can take any other art classes. These classes focus on breaking down the elements and principles of design. I agree with the statement that the teachers used in the passage (Page 183 kindle edition) “Students had to learn to walk before they could run”. You need to have a clear understanding of these fundamentals in order to be a successful artist. Just like Picasso said, “Learn the rules like a pro so you can break them like an artist”
Impressed: I was impressed with how Aileen Osborn Webb started a program on how craft was used during war to help wounded soldiers. This craft training was considered an essential part of the process, along with physical therapy and some psychiatric treatment.
Take away: My take away from this chapter is how crafts were so important to have it in school. Schools give kids and adults the options to pick which “crafting” route they wanted to follow
As for my Project, I am still playing with some ideas in my head. I have wanting to work with my dad’s jellies. Making a video or slide show on from beginning to end the process of crafting a homemade jelly. Maybe??
Keep thinking about foundation classes. Do you really need to draw before you throw a pot? Could foundation classes be more about tools? Leaning to dream? Reading about other artists? Exploring new processes...literally what if you had to weave something or hand carve something? Let go of what/how you learned and think about what would be more exciting. And Yes your Dad's jellies would be grand. What if you also designed a label for it?
1. Something that surprised me was the fact that it took so long to create a formal education system for teaching others about the different forms of art. I feel as if this should have happened sooner. I know that there were informal books about the different arts and crafts but it's just so surprising that people didn't start teaching it for real in colleges until 1943. This was a great milestone for the art world because it did increase the spread of craft knowledge to more people. 2. Something that impressed me was the constant change of jewelry style over the years. I thought it was cool to see that even today there are remnants of certain influences from different cultures in our jewelry. I was also impressed to see the reason for the vault in handmade jewelry production and why it is more or less scarce today. During the wars they needed the metal for weapons and this hindered the craft of jewelry. 3. The take home from this is that universal events such as war and country hostility can hinder the production, education, and activity of crafts world wide. Also the war created other outlets for inspirational art and other new ideas that influenced the craft world, such as textiles and their extravagant designs. 4. For my project I'm stuck between making a sculpture of a woman (not too big) out of clay and painting it with acrylic paint or making a small model of a living room with a certain theme connection all the furniture pieces. Hopefully either comes out good!
Before the 1940's art was passed down by family members or you hired an "artist" to teach you/your children. To have it offered in schools made it legitimate. I am not sure if there was always a plan passed "just do what I do". I like both your ideas.
Impressed: I was really impressed by the story of Ray and Charles Eames. It was interesting to see how history weaved throughout and influenced their journey. It was amazing to hear about how much effort they put into designing molded plywood chairs but then how the war put that all to a halt. Amazingly thought they utilized their skills in craft to create splints for the army and then went back to creating their furniture after the 1940’s. I also think it is pretty impressive that some of their designs are still in production today. (information found on page 192-193). I also really enjoyed reading about the process that Maurice Heaten used to create his glass plates. Super cool how he combined a process from one craft (ceramics) to his craft (page 206).
Surprised: I enjoyed reading that “craft training was considered an essential part of the process [of vocational rehabilitation programs for those returning from war], along with physical therapy, and some psychiatric treatment” (page 184). I guess I was surprised by this holistic approach to treatment and think that we could really benefit from learning a thing or two from this approach. My wife is a psychotherapist and often utilizes painting, music making, and has also incorporated knitting into the treatment of her clients because she feels that they heal faster and have better results. On this same note I just saw an article that Ed Check posted citing the health benefits of knitting (http://www.huffingtonpost.co.uk/entry/knitting-linked-to-health-benefits-including-reducing-depression-and-slowing-dementia-report-reveals_uk_5aa63cb0e4b07047bec7feee?utm_campaign=hp_fb_pages&utm_source=lifestyle_fb&utm_medium=facebook&ncid=fcbklnkushpmg00000032). The article states that “the researchers found that those who engaged in crafting, computer activities, knitting and reading books were 30-50% less likely to have mild cognitive impairment than those who did not.”
I also thought the story about Alfred Barr’s response to Alexander Calder’s brooches was so funny.
Take Away: The take away from this chapter was that although the war really influenced the production of craft the time period after the war was a time of experimentation and discovery that led to some amazing pieces of art aesthetically, but also craft that had utility.
I agree, somewhere along the way, lost in all the testing and need for data, we have forgotten the comforting results from making something. From using our hands and our minds at the same time, with a focus.
Surprised: I guess I always knew that the "ladies" played an important role in the evolution of art and craft in America; but I never realized how big of a role that was. I was especially impressed by those that were trained in the Bauhaus. their design (at the time) was far ahead of what was being done here. In the early 70's at the University of Houston, we had a graphics instructor that trained at the Bauhaus. His concepts and ideas were something I had not encounter before. Was an amazing semester!
Impressed: This Book is beginning to change my thinking (just a little) about the marriage of art and craft; for example the piece by Candace Kling on page 159. I actually studied the photograph thinking it was a cake decorators sample box. I was blown away to fine it was ribbon! I was equally impressed with Viola Frey's work. I had seen one of her works years ago at the Museum of Art here in New Orleans. It was interesting to learn about her career.
Sorry. Forgot about my project. I've been building furniture forever, so that is probably the route I will take. I also have been designing cutting boards lately. Maybe make a cutting board that could be displayed as a decorative piece of art? It's a thought>
Chapter 6 Catch Up- First, I'm so sorry, I can't seem to get in a good groove this semester!
Surprised- One of the things that surprised me the most was actually at the beginning of the chapter. "(In 1949) That year, the National Art Education Association determined that 'Art instruction should encourage exploration and experimentation in many media at all levels'" This surprised me because it took so long for this type of statement to be made. I'm glad that it opened up a whole new world of art, and specifically crafts, and allowed for exploration. That being said, I think we still have a long way to go with the acceptance of arts and crafts. Impressed- I have always loved Alexander Calder's artwork, I loved seeing his Bird Brooch (pg 186), and I can also see the influence he had on other artists. Take Away- My biggest take away from this chapter was one of exploring. Not only exploring the artists and their work, but also the medium that they used. It makes me want to allow my students more time to explore and create without the "projects" that we do in class. I need to find a better balance with that for my students.
Chapter 5
ReplyDeleteSurprised:
I think it was surprising to read the history regarding wood and furniture in the “Modern Moment”. I guess in this day and age quality furniture is expensive and hard to find, so anything that alludes to a piece being less mass-produced is a good sign. (IE looking for a dresser with a solid wood top vs. a veneer) I guess I was surprised to read that during this time arts and craft ideology was viewed as old fashion and that if pieces were handmade in shops, signs of this were hidden. I am not a huge fan of industrial furniture, it just seems to cold, which means I was a huge fan of Wharton Esherick’s work (page 171). I loved the staircase in particular and that it was built for his own home.
Impressed:
I am really enjoying how this book highlights so many different people from different backgrounds. I think it is refreshing to read about those who were successful because their work was accepted by the “experts” of the, and those who were successful despite being discounted by “experts” or organizations of the time. Russel Wright’s story was very fun to read (found on page 163-164). I loved that his work was unconventional and inspired by the organic. Aesthetically his work really appeals to me. I loved how he is known by some to have created the most popular dinnerware despite the fact that he was discounted because he didn’t have formal training. It seems that sometimes the opinion of very few can influence the masses, as did the founding director of MOMA, but at other times that is not the case.
Take away:
I think the big take away from this chapter is how studio craft and history are so intertwined and that it may be near impossible to isolate one from the other. I particularly liked the part in the reading that talked about the California Pottery. Just looking at the colors used in the glazes evokes a simple, light, and bright feeling, something that was much needed after the Depression. I’m not certain that this was a direct reaction to Depression, just speculation, but throughout the reading it was interesting to see how history and craft impact one another and reflect on each other.
What would I like for my education/learning/growing:
I feel like formal education is a double-edged sword for me. I really benefit by having deadlines. It motivates me to get things done and forces me to not hyper focus, as I can get too detail oriented. The downside for me is that sometimes I may be given work to do that I’m not interested in, this doesn’t mean I can’t learn from that work, but it does mean that I might be taking up time that I could spend doing things that speak to me a bit more. I think that workshop type classes work well for me (Penland type setup for example). I can seek out the classes I am interested in without worrying too much about how they fit in to my degree plan. They also act to give me focus because there is a start and end and some set of expectations. This is actually how I plan to further my education in the future.
Through out this book the works called or labeled craft and the work referred to as art will be at odds then come together for a bit.I think this dance continues today. What does it take for a process to be called art? Who decides?
DeleteI agree with your take on learning and I think this is what you were a part of while a fellow at the Print studio. People came to learn, grades were not an issue and you could continue to learn till you were happy.
Chapter 5
ReplyDelete1. Something that surprised me about this chapter is how furniture continued to change and transform into many different designs based on the creators inspiration. The amount of designs and unique combinations were endless. Also after the 1930s, I realized how much the artistic view of furniture was changing. More and more people were enthused about it.
2. Something that impressed me was how there was a Hispanic craft revival. The nation came together to restore certain artifacts. Although the appreciation of Hispanic culture grew due to this there were a few negative influences from the European side of things. This wasn't a big negative effect as much as a positive effect overall to spread knowledge about this culture.
3. The take home message for me was that even though the depression took alot away from art the people were still able to register themselves and reawaken the love and appreciation for cultural arts and crafts. At their lowest points people still kept hope alive. Where some arts were brought to an end, new arts were awakened.
4. I would love to know more about the human body and how it works in regards to medicine. I have a strong appreciation for our bodies and in order to be a pediatrician I must know everything about it even on a cellular level. Now it may seem weird that I am in art but art helps me maintain a certain level of sanity as I force myself to understand the endless concepts I must memorize in medicine. Id like to take more hands on classes where I can see how things work in our bodies rather than always reading about them. I wish there were more hands on classes in general, they grasp my attention and help me learn and understand the material better.
I think one of the issue about the Hispanic Revival was the way tourism and sales (where the galleries or managers take a large percentage of the price)influenced the design and certainly the interpretation of the work, and how those words found their way into the art history book.
DeleteI think art has the possibility to heal. Really. Allowing the mind to wander and seek new connections, to calm the heart rate and to bring a smile when completed. I cant wait to see what you do for your final.
LATE POST Chapter 5
ReplyDeleteSurprised: I had never thought about making the connection of woodworking to making commercials and advertising to the market industry. I was also surprised to read about how a lot of these studio shops were set up in peoples garages and basements and ran by families and not a designated shop and companies.
Impressed: I was impressed with the preservation of craft traditions and education for the everyday people were common goals of federal craft programs. Especially with the ceramic WPA program and how successful the program was with over 600,000 people. I discover on my research that they set up over 100 art centers around the country that served an estimated eight million individuals
Take away: form this weeks reading, I am taking away Allen Eaton Philosophy on craft making. Eaton believed in the importance of please in the work you do and self-worth. I think that this is important to all artist to understand where they stand in their own art making.
Extra Question: As for my education, I wish that my undergrad offered more hands-on experiences with student teaching and being in the classroom. Only classes I remember from my undergrad were all the art history and learning how to write a 2,000-word lesson plan because everything needed to be written out. I’m in my 3 years of teaching, and sometimes I feel that I am learning things that I should have learned back in college. For example, how to deal with parents; learn more about IEP regulations, and how to implement them it in my classes, and documentation. These are just a few things that I struggle with and many more. As for student teaching, we need mentors that sign up to be ok with the fact that someone is coming in to learn and eventually take over the class and gain the process of teaching. I once had a mentor for seven weeks that didn’t allow me to help students because she felt that I would teach them something wrong. Towards the end of this semester, I started to believe that teaching wasn’t for me because of this mentor. The art education department that I went to need to reevaluate what is important for our future educators to learn and to make sure that we are guided by educators who are just as passionate as we are.
I am so sorry you were not in our undergrad program. Our pre-service students do 2 to 3 outreaches where they are in actual classrooms, working with good teachers and doing one lesson. And I work very, very hard to make sure supporting art teachers are just that. SUPPORTING. I can tell you that any teacher that did not want you helping students was a fool and afraid that you knew more than they did. As you know there is no "wrong" way to do art. Art is about breaking all the rules and then making new rules for yourself.
DeleteI think we have forgotten about woodworking. It is assigned to shop and then limited to a few boxes.
As I was checking this site I noticed I had not added the extra question. I apologize. I spent the break in the studio. Some things work, some things did not work and had to be done again and again.I was also struggling with how to begin a new piece...trying to collaborate with two artists. This morning there was a little rain (first time in 100 days), so I built a small pinon fire, had my cup of coffee and sketch book, while covered with a quilt from my sister and just allowed myself some peace. Perfect for a break through. A great ending to the break.
ReplyDeleteI loved this chapter. The concept of foundation classes as "extended torture" made me laugh. True even today. Interesting also that this was the time that crafts were funneled into high schools while arts were directed to higher education.
And I always come back to the conversation about Anni Albers and her success due to her articulation. One of my not so subtle hopes for all my classes is that artist begin to understand they can and I believe should learn to speak for themselves past some vague "the art says it all" or even worse some very vague statement filled with unrelated $10 words.
So no extra question. Instead tell me you thoughts on your final work.
Week 6
ReplyDeleteSurprised: I found it very interesting that these colleges wanted to enhance the program with foundation courses. You learn in art history how the “Old Masters” learn from drawing in still life and models. Nowadays, it’s a class that you really don’t need depending on your field of study. As a freshman at the school of arts at UNT it is mandatory that you take Design 1 and 2 before you can take any other art classes. These classes focus on breaking down the elements and principles of design. I agree with the statement that the teachers used in the passage (Page 183 kindle edition) “Students had to learn to walk before they could run”. You need to have a clear understanding of these fundamentals in order to be a successful artist. Just like Picasso said, “Learn the rules like a pro so you can break them like an artist”
Impressed: I was impressed with how Aileen Osborn Webb started a program on how craft was used during war to help wounded soldiers. This craft training was considered an essential part of the process, along with physical therapy and some psychiatric treatment.
Take away: My take away from this chapter is how crafts were so important to have it in school. Schools give kids and adults the options to pick which “crafting” route they wanted to follow
As for my Project, I am still playing with some ideas in my head. I have wanting to work with my dad’s jellies. Making a video or slide show on from beginning to end the process of crafting a homemade jelly. Maybe??
Keep thinking about foundation classes. Do you really need to draw before you throw a pot? Could foundation classes be more about tools? Leaning to dream? Reading about other artists? Exploring new processes...literally what if you had to weave something or hand carve something? Let go of what/how you learned and think about what would be more exciting.
DeleteAnd Yes your Dad's jellies would be grand. What if you also designed a label for it?
Chapter 6.
ReplyDelete1. Something that surprised me was the fact that it took so long to create a formal education system for teaching others about the different forms of art. I feel as if this should have happened sooner. I know that there were informal books about the different arts and crafts but it's just so surprising that people didn't start teaching it for real in colleges until 1943. This was a great milestone for the art world because it did increase the spread of craft knowledge to more people.
2. Something that impressed me was the constant change of jewelry style over the years. I thought it was cool to see that even today there are remnants of certain influences from different cultures in our jewelry. I was also impressed to see the reason for the vault in handmade jewelry production and why it is more or less scarce today. During the wars they needed the metal for weapons and this hindered the craft of jewelry.
3. The take home from this is that universal events such as war and country hostility can hinder the production, education, and activity of crafts world wide. Also the war created other outlets for inspirational art and other new ideas that influenced the craft world, such as textiles and their extravagant designs.
4. For my project I'm stuck between making a sculpture of a woman (not too big) out of clay and painting it with acrylic paint or making a small model of a living room with a certain theme connection all the furniture pieces. Hopefully either comes out good!
Before the 1940's art was passed down by family members or you hired an "artist" to teach you/your children. To have it offered in schools made it legitimate. I am not sure if there was always a plan passed "just do what I do".
DeleteI like both your ideas.
Impressed:
ReplyDeleteI was really impressed by the story of Ray and Charles Eames. It was interesting to see how history weaved throughout and influenced their journey. It was amazing to hear about how much effort they put into designing molded plywood chairs but then how the war put that all to a halt. Amazingly thought they utilized their skills in craft to create splints for the army and then went back to creating their furniture after the 1940’s. I also think it is pretty impressive that some of their designs are still in production today. (information found on page 192-193). I also really enjoyed reading about the process that Maurice Heaten used to create his glass plates. Super cool how he combined a process from one craft (ceramics) to his craft (page 206).
Surprised:
I enjoyed reading that “craft training was considered an essential part of the process [of vocational rehabilitation programs for those returning from war], along with physical therapy, and some psychiatric treatment” (page 184). I guess I was surprised by this holistic approach to treatment and think that we could really benefit from learning a thing or two from this approach. My wife is a psychotherapist and often utilizes painting, music making, and has also incorporated knitting into the treatment of her clients because she feels that they heal faster and have better results. On this same note I just saw an article that Ed Check posted citing the health benefits of knitting
(http://www.huffingtonpost.co.uk/entry/knitting-linked-to-health-benefits-including-reducing-depression-and-slowing-dementia-report-reveals_uk_5aa63cb0e4b07047bec7feee?utm_campaign=hp_fb_pages&utm_source=lifestyle_fb&utm_medium=facebook&ncid=fcbklnkushpmg00000032). The article states that “the researchers found that those who engaged in crafting, computer activities, knitting and reading books were 30-50% less likely to have mild cognitive impairment than those who did not.”
I also thought the story about Alfred Barr’s response to Alexander Calder’s brooches was so funny.
Take Away:
The take away from this chapter was that although the war really influenced the production of craft the time period after the war was a time of experimentation and discovery that led to some amazing pieces of art aesthetically, but also craft that had utility.
I agree, somewhere along the way, lost in all the testing and need for data, we have forgotten the comforting results from making something. From using our hands and our minds at the same time, with a focus.
ReplyDeleteSurprised: I guess I always knew that the "ladies" played an important role in the evolution of art and craft in America; but I never realized how big of a role that was. I was especially impressed by those that were trained in the Bauhaus. their design (at the time) was far ahead of what was being done here. In the early 70's at the University of Houston, we had a graphics instructor that trained at the Bauhaus. His concepts and ideas were something I had not encounter before. Was an amazing semester!
ReplyDeleteImpressed: This Book is beginning to change my thinking (just a little) about the marriage of art and craft; for example the piece by Candace Kling on page 159. I actually studied the photograph thinking it was a cake decorators sample box. I was blown away to fine it was ribbon! I was equally impressed with Viola Frey's work. I had seen one of her works years ago at the Museum of Art here in New Orleans. It was interesting to learn about her career.
Sorry. Forgot about my project. I've been building furniture forever, so that is probably the route I will take. I also have been designing cutting boards lately. Maybe make a cutting board that could be displayed as a decorative piece of art?
DeleteIt's a thought>
Chapter 6 Catch Up- First, I'm so sorry, I can't seem to get in a good groove this semester!
ReplyDeleteSurprised- One of the things that surprised me the most was actually at the beginning of the chapter. "(In 1949) That year, the National Art Education Association determined that 'Art instruction should encourage exploration and experimentation in many media at all levels'" This surprised me because it took so long for this type of statement to be made. I'm glad that it opened up a whole new world of art, and specifically crafts, and allowed for exploration. That being said, I think we still have a long way to go with the acceptance of arts and crafts.
Impressed- I have always loved Alexander Calder's artwork, I loved seeing his Bird Brooch (pg 186), and I can also see the influence he had on other artists.
Take Away- My biggest take away from this chapter was one of exploring. Not only exploring the artists and their work, but also the medium that they used. It makes me want to allow my students more time to explore and create without the "projects" that we do in class. I need to find a better balance with that for my students.
nice response
ReplyDelete