Jonathan Kaplan on fri 19 apr 96
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So as not to overly clutter the list, I have eliminated Don's original post.
The St. Paul show has always been a mixed one for me and I have not been
able to attend for the last two years. Financially, it was always a mixed
bag for me, but one year I did sell my most expensive piece ever. A lovely
show, impecible quality, a killer drive from those of us in the southwest.
I'd go back if it were possible in the future. BTW, did you check out Seven
Corners Hardware?
Regarding the omnipresent thread of the small studio vs. the production
studio and what is happening in the market place. I wish there were answers
and I wish that I had an answer for myself and for others that could either
make the whole thing go away or provide a workable solution for all of us.
The point is that yes indeed the maketplace and the makers have changed,
and how we chart a direction for the future of the crafts movement is
crutial. While there are still some ideological complaints, I think the
root of the dissatisfaction is economic more than anything else. (check out
an upcoming CM "comment"section in which I address some of these issues)
We speak of the dilution of the market place by larger production studios.
In and of itself,this needs to be clarified. Yes the pie is still basically
the same size, but shrinking proportionally each year. The segments of the
pie, us, are becoming smaller. It does not necessarily mean that all larger
production studios are making poor quality work. The dilution of our
maketplace, IMHO, is perhaps better understood only in realtion to our
culture and our time. It was inevitable that such should happen. I'm
playing Devil's Avocate here, but why should we be immune to this? What is
so special about the craft movement? Why do we think that we can continue
to market and produce pots the smae way and with the same attitudes that we
started out with in the 60's or so, and expect the same dollar return? Does
not happen!!
Well, I think that all of us on this list know full well some of the
answers, and I pose these questions only because sometimes we get lost in
the hyperbole of what we do as artists. I feel fortunate in that I can sell
some of my work, have a small business, and listen and be responsive to my
customers and clients.The first thing I tell myself is that I have to work
smarter, and yes harder, to maintain my small pie segment. And I don't like
it and I too question what has happened in the marketpalce, even though I
am directly involved with production in some of the issues that Don brings
up.
I know many potters, colleagues, from my past who have continued to move
ahead, albeit in small steps, staying close to the model of what they think
studio pottery should be. They are happy and content, working harder, but
as you brought up, affected greatly by some of the directions in the
marketplace. I also know many poters who have opted for the production
studio situation with employees, forming equipment, etc., and who are
making very high quality work in much greater quantity, and, at lower price
points.
I think that while things are shrinking around us economically, this is
still a pretty good time for potters and artists, despite all the
bellyaching and turmoil. How we continue to find new markets and address
some of these"weighty" issues is problematic but ultimately, a creative
challenge. After all, no one is holding a gun to our heads and forcing us
to continue to make pots.
I wish things were other wise and the dissatisfaction would go away. We
need to be better at what we do. Don't look at the St. Paul show as an
absolute barometer of commerce in crafts. It is a great venue, yet to come
into its prime.
These issues are not going to go away. Perhaps one of the best ways to deal
with them is to encourage the dialog.
Jonathan
Jonathan Kaplan
http://www.craftweb.com/org/jkaplan/cdg.shtml
(aka "Scooter)
jonathan@csn.net
Ceramic Design Group/Production Services Voice:
303-879-9139 POB 775112
FAXmodem: same
Steamboat Springs, Colorado 80477, USA CALL before faxing
"No matter where you go, there your are!"
Don Jones on mon 22 apr 96
>----------------------------Original message----------------------------
>>----------------------------Original message----------------------------
>>
>
>So as not to overly clutter the list, I have eliminated Don's original post.
>
>The St. Paul show has always been a mixed one for me and I have not been
>able to attend for the last two years. Financially, it was always a mixed
>bag for me, but one year I did sell my most expensive piece ever. A lovely
>show, impecible quality, a killer drive from those of us in the southwest.
>I'd go back if it were possible in the future. BTW, did you check out Seven
>Corners Hardware?
Seven Corners Hardware is awesome!!! A male dream come true. A veritable
Norman Rockwell virtual space.
>
>>What is
>>so special about the craft movement? Why do we think that we can continue
>>to market and produce pots the smae way and with the same attitudes that we
>>started out with in the 60's or so, and expect the same dollar return? Does
>>not happen!!
I'll have to say this one more time and then I'll shut up for good on this
subject. What is so special about the craft movement is that in its soul,
the work is done one at a time by hand, generally using the most basic
methods, honoring the traditions of the medium. Where A.C.E. is wrong,
IMO, is giving up its venue to those businesses devoted to quantitiy OVER
quality, AND, chewing out the little guy for not properly competing. I'm
not saying that the big guys produce inferior work, only that their
emphasis is on making lots of products. Often these business have glitsier
presentations and better merchandising techniques, drawing the customer
away from the one-at-a time person. The soul of the movement is not based
in the attitudes of the 1960's but is centuries or millenia old. Its
OPPOSITE is the industrial revolution and now computerized production
methods. Not far from me was a booth that made music boxes. These were
all cut out using a computerized router.
Finally, I think there is a place for the clay artist who makes HIS/HER own
clay; formulates, and mills his own glazes, designs, builds, and fires his
own kiln; and produces a body of work that has his soul in it and his
fingerprints on it. I don't think we sould force this person into an MBA
program so he can compete in the A.C.E. It should be that A.C.E makes a
special effort to get him and retain him.
Nuff said. Disagree, I don't care
Don Jones
claysky@indirect.com
SLPBM@cc.usu.edu on mon 22 apr 96
Don Jones made some fine points in this latest rebuttal...
But I ask, Where is this place for the potter still holding true to the time
tested ways of making fine pots?
It is obviously not the ACE or the high end gallery... so where is it?
Alex Solla
slpbm@cc.usu.edu
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