Harvey Sadow on sat 13 sep 97
Hi Jenni,
SOFA is not a convention, it is a sales event, like an indoor fair.
Instead of artists/craftspersons bringing their own work to the fair,
the galleries bring, exhibit and sell the work of people whom they
represent. The ART EXPOS at the Navy Pier and in NYC and Miami are
similar, only they focus more on painting and prints. There will be a
lot of good ceramic work work there, though SOFA Chicago seems to be
more weighted toward glass. It will also give you an opportunity to see
what galleries show what artists and how professional (or not) they are.
There are always numerous lectures and slide shows, too.
Regards,
Harvey Sadow
----------------------------Original message----------------------------
I am currently debating whether to attend the SOFA (Sculptural Objects
and
Funcitonal Art) convention in Chicago on the weekend of the 19th of
October. This convention was/is advertised in Ceramics Monthly, Art in
America, etc. There seems to be some ceramic representation (I noticed
last year, Wayne Higby gave a lecture) but to what extent? Has anyone on
the list been to one of these conventions? Could anyone comment on the
experience and relative worth of attending?
thanks
jenni
jlexau@cwis.unomaha.edu
Clayphil on sat 18 oct 97
I just spent the afternoon and part of the evening at SOFA- Chicago, which runs
thru this weekend. It is an interesting event; a nice sampling of clay work
of some very well known people (from Anderegg to Voulkus and beyond).
Likewise, an interesting sampling of many media, wonderfully diverse and
inventive, etc. I was struck also with what seemed to me, to be a heavy
emphasis on glass. This "visual feast" is so enormous that it is a bit
overwhelming to try to take in in an afternoon but worth a look if you are
near enough to Chicago and don't mind being bombarded by different stimuli. I
found it inspiring and humbling at the same time.
Phil in Chicago
J./B. Moore on sun 19 oct 97
At 10:00 AM 10/18/97 EDT, you wrote:
>----------------------------Original message----------------------------
>I just spent the afternoon and part of the evening at SOFA- Chicago, which runs
> thru this weekend. It is an interesting event; a nice sampling of clay work
> of some very well known people (from Anderegg to Voulkus and beyond).
I went yesterday as well, but unlike Phil I was not impressed by most of the
clay work. The "masters" were showing the same stuff as always, and it
seemed to me not very many new people thrown into the mix. I was hoping to
see something different. The glass did overwhelm the show, and I wondered
where all the cool art furniture was this year.
But I second Phil's urging to go--it's at Navy Pier and very easy to find.
(parking, however, is very expensive if you use their convenient parking garage)
Julia Moore
Indianapolis, IN
Unruly JuliE on mon 20 oct 97
The furniture this year was at the merchandise mart. The show
there that was described by one of the papers as a combo between
"architectural digest" and another one of those types mag.'s.
They had an entrance fee (I found out friday night from friends of
friends) of $15.00, so I did not make it. Although I would have
liked to.
I agree that the SOFA show was smaller and not as much clay as in
years past. They had some neat stuff and some weirdly stuff (as
usual).
Donna Hoff-Grambau on mon 20 oct 97
I just returned from Chicago and the SOFA. I agree that the glass
overwhelmed the show - but then, that's where the cutting edge and
experimentation is. It also appeared that that is where the cross media
experimentation is going on. Agree also that a lot of the masters were
represented with the same things that have been around for awhile.
Never having seen a Voulkos first hand it was impressive to see the
rather large pot form he had there. My understanding, correct me if I
am wrong, is that he has gone on to other things now. I came away with
many new ideas and a desire to bring what I do to a new level. Also, to
emphasize the beauty inherent in clay and make more combinations of
media.
Donna Hoff-Grambau
Wendy Rosen on tue 21 oct 97
>----------------------------Original message----------------------------
>At 10:00 AM 10/18/97 EDT, you wrote:
>>----------------------------Original message----------------------------
>>I just spent the afternoon and part of the evening at SOFA- Chicago,
>>which runs.... The glass did overwhelm the show, and I wondered
>where all the cool art furniture was this year?
>Julia Moore
>Indianapolis, IN
Julia,
Much of the cool art furniture was at the Design Show in the Merchandise
Mart this year. John Makepease had a huge space as well as some of your
other favorites. I wonder if the Furniture Conference this summer helped
artists meet up with collectors directly and therefore put them in a
position to bypass their galleries? The show sorely missed Peter Josephs
large furniture exhibit. If I was a gallery I think I'd be conservative
with the amount of furniture and type of furniture I bring to this very
expensive to exhibit show.
Wendy Rosen
Wendy Rosen
The Rosen Group
Niche Magazine
AmericanStyle Magazine
americanstyle.com
3000 Chestnut Ave #304
Baltimore, MD 21211
410/889-3093
Antoinette Badenhorst on mon 16 jun 08
Curtis, what I found when I did shows, was that I had to draw peoples attention to the
translucency of my work. I place it in very specific areas to draw attention
and I use large images and description notes to educate the public. I place focus lights to focus on the inside or let the sun catch it. I also walk around with a little glass stick to tap on pots to let them "hear the ring".
As you know porcelain is worked as a clay, but fired to
become like glass. Other than the glass artist that has control over his work to
the last minute, we as porcelain artists have to hand the last third of our work
over to the kiln and then trust that our work will survive the firing
process. If the piece survive the kiln, we want to show that off and many people do not understand the painful process that we had with that one single piece. Therefore I believe that I am the best person to sell my work. Unless others understand the process, there is no way that they will look for it, less so appreciate it.
It is very problematic when one work with galleries that is not interested to educate
the public about the differences between different clay mediums and the processes. I am slowly
busy building relationships with galleries that are interested in promoting
porcelain for what it is, but too many still do not understand it or is not interested do walk the extra mile.
I believe that the right customers are out there; they just don't know that yet!
I think that America has the perfect venue for porcelain in all its varieties, but I also think that there is a process ahead of us to educate the public.
I believe that there is a lack of knowledge among our own ceramic society. I think there is a lack of information and I think there is a lack of interest among educators to fill the gap. Maybe the time is not ripe yet or maybe I just don't notice it yet, but in my mind, the rest of the world is getting light years ahead of us as far as porcelain is concerned.
--
Antoinette Badenhorst
www.clayandcanvas.com
www.studiopottery.co.uk
Curtis Benzle on mon 16 jun 08
Hi Antoinette.
I think your generalizations are a bit too broad. Grab a copy of
"Masters: Porcelain" and I think you'll see a pretty wide,
international degree of involvement with porcelain. And from what I
have seen, this book is just the tip of the iceberg in terms of
diversity and creative exploration; here in the U.S. and elsewhere.
thanks for sharing your thoughts.
Curt
On 6/15/08, Antoinette Badenhorst wrote:
> Curtis, what I found when I did shows, was that I had to draw peoples
> attention to the
> translucency of my work. I place it in very specific areas to draw attention
> and I use large images and description notes to educate the public. I place
> focus lights to focus on the inside or let the sun catch it. I also walk
> around with a little glass stick to tap on pots to let them "hear the ring".
> As you know porcelain is worked as a clay, but fired to
> become like glass. Other than the glass artist that has control over his
> work to
> the last minute, we as porcelain artists have to hand the last third of our
> work
> over to the kiln and then trust that our work will survive the firing
> process. If the piece survive the kiln, we want to show that off and many
> people do not understand the painful process that we had with that one
> single piece. Therefore I believe that I am the best person to sell my work.
> Unless others understand the process, there is no way that they will look
> for it, less so appreciate it.
> It is very problematic when one work with galleries that is not interested
> to educate
> the public about the differences between different clay mediums and the
> processes. I am slowly
> busy building relationships with galleries that are interested in promoting
> porcelain for what it is, but too many still do not understand it or is not
> interested do walk the extra mile.
> I believe that the right customers are out there; they just don't know that
> yet!
> I think that America has the perfect venue for porcelain in all its
> varieties, but I also think that there is a process ahead of us to educate
> the public.
> I believe that there is a lack of knowledge among our own ceramic society. I
> think there is a lack of information and I think there is a lack of interest
> among educators to fill the gap. Maybe the time is not ripe yet or maybe I
> just don't notice it yet, but in my mind, the rest of the world is getting
> light years ahead of us as far as porcelain is concerned.
> --
> Antoinette Badenhorst
> www.clayandcanvas.com
> www.studiopottery.co.uk
>
Antoinette Badenhorst on tue 17 jun 08
Curt, maybe a broad generalization; if half of it is true, then we do not enough to promote porcelain as a medium on it's own.
--
Antoinette Badenhorst
www.clayandcanvas.com
www.studiopottery.co.uk
-------------- Original message ----------------------
From: Curtis Benzle
> Hi Antoinette.
>
> I think your generalizations are a bit too broad. Grab a copy of
> "Masters: Porcelain" and I think you'll see a pretty wide,
> international degree of involvement with porcelain. And from what I
> have seen, this book is just the tip of the iceberg in terms of
> diversity and creative exploration; here in the U.S. and elsewhere.
>
> thanks for sharing your thoughts.
> Curt
>
> On 6/15/08, Antoinette Badenhorst wrote:
> > Curtis, what I found when I did shows, was that I had to draw peoples
> > attention to the
> > translucency of my work. I place it in very specific areas to draw attention
> > and I use large images and description notes to educate the public. I place
> > focus lights to focus on the inside or let the sun catch it. I also walk
> > around with a little glass stick to tap on pots to let them "hear the ring".
> > As you know porcelain is worked as a clay, but fired to
> > become like glass. Other than the glass artist that has control over his
> > work to
> > the last minute, we as porcelain artists have to hand the last third of our
> > work
> > over to the kiln and then trust that our work will survive the firing
> > process. If the piece survive the kiln, we want to show that off and many
> > people do not understand the painful process that we had with that one
> > single piece. Therefore I believe that I am the best person to sell my work.
> > Unless others understand the process, there is no way that they will look
> > for it, less so appreciate it.
> > It is very problematic when one work with galleries that is not interested
> > to educate
> > the public about the differences between different clay mediums and the
> > processes. I am slowly
> > busy building relationships with galleries that are interested in promoting
> > porcelain for what it is, but too many still do not understand it or is not
> > interested do walk the extra mile.
> > I believe that the right customers are out there; they just don't know that
> > yet!
> > I think that America has the perfect venue for porcelain in all its
> > varieties, but I also think that there is a process ahead of us to educate
> > the public.
> > I believe that there is a lack of knowledge among our own ceramic society. I
> > think there is a lack of information and I think there is a lack of interest
> > among educators to fill the gap. Maybe the time is not ripe yet or maybe I
> > just don't notice it yet, but in my mind, the rest of the world is getting
> > light years ahead of us as far as porcelain is concerned.
> > --
> > Antoinette Badenhorst
> > www.clayandcanvas.com
> > www.studiopottery.co.uk
> >
Curtis Benzle on tue 17 jun 08
This seems like a daunting undertaking but I am glad you are taking it
on.....
All the Best
Curt
On Tue, Jun 17, 2008 at 7:32 AM, Antoinette Badenhorst <
clayart_friends10@comcast.net> wrote:
> Curt, maybe a broad generalization; if half of it is true, then we do not
> enough to promote porcelain as a medium on it's own.
>
> --
> Antoinette Badenhorst
> www.clayandcanvas.com
> www.studiopottery.co.uk
>
>
> -------------- Original message ----------------------
> From: Curtis Benzle
> > Hi Antoinette.
> >
> > I think your generalizations are a bit too broad. Grab a copy of
> > "Masters: Porcelain" and I think you'll see a pretty wide,
> > international degree of involvement with porcelain. And from what I
> > have seen, this book is just the tip of the iceberg in terms of
> > diversity and creative exploration; here in the U.S. and elsewhere.
> >
> > thanks for sharing your thoughts.
> > Curt
> >
> > On 6/15/08, Antoinette Badenhorst wrote:
> > > Curtis, what I found when I did shows, was that I had to draw peoples
> > > attention to the
> > > translucency of my work. I place it in very specific areas to draw
> attention
> > > and I use large images and description notes to educate the public. I
> place
> > > focus lights to focus on the inside or let the sun catch it. I also
> walk
> > > around with a little glass stick to tap on pots to let them "hear the
> ring".
> > > As you know porcelain is worked as a clay, but fired to
> > > become like glass. Other than the glass artist that has control over
> his
> > > work to
> > > the last minute, we as porcelain artists have to hand the last third of
> our
> > > work
> > > over to the kiln and then trust that our work will survive the firing
> > > process. If the piece survive the kiln, we want to show that off and
> many
> > > people do not understand the painful process that we had with that one
> > > single piece. Therefore I believe that I am the best person to sell my
> work.
> > > Unless others understand the process, there is no way that they will
> look
> > > for it, less so appreciate it.
> > > It is very problematic when one work with galleries that is not
> interested
> > > to educate
> > > the public about the differences between different clay mediums and the
> > > processes. I am slowly
> > > busy building relationships with galleries that are interested in
> promoting
> > > porcelain for what it is, but too many still do not understand it or is
> not
> > > interested do walk the extra mile.
> > > I believe that the right customers are out there; they just don't know
> that
> > > yet!
> > > I think that America has the perfect venue for porcelain in all its
> > > varieties, but I also think that there is a process ahead of us to
> educate
> > > the public.
> > > I believe that there is a lack of knowledge among our own ceramic
> society. I
> > > think there is a lack of information and I think there is a lack of
> interest
> > > among educators to fill the gap. Maybe the time is not ripe yet or
> maybe I
> > > just don't notice it yet, but in my mind, the rest of the world is
> getting
> > > light years ahead of us as far as porcelain is concerned.
> > > --
> > > Antoinette Badenhorst
> > > www.clayandcanvas.com
> > > www.studiopottery.co.uk
> > >
>
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