Eleanora Eden on mon 14 may 07
Hi John and all,
When I was an undergrad at UC Berkeley in early '70s Ron Nagle was just
starting his cup series and the whole clay department was "whoo-eeeeee"
about making this lowly form into a new art statement. Nancy Selvin, a
contemporary of mine, was first in a SF gallery, I think I recall, with her cast
take-offs on dixie cups. I thought the whole thing was fabulous.
Now I never had heard of the "Marie's Ceramics Shack" paradigm and so I didn't
have to be afraid of being mixed up with it in peoples' minds. I have always thought
that people who deride this medium have a fear of being contaminated somehow
by the hobby decorating of commercial castings.
Just a PS to this is that my supplier in Rutland used to have most of their business
in making molds for people to buy. I remember being up there and waiting in line
while these boxes of elves and angels were packed up in shredded paper to serve
this hot hobby. That part of their business has all but evaporated.
So, yes, it is all in the eyes of the observer. I am quite confident that I could hand
my molds to somebody else (a la Vince's assertion) and their result would NOT be
the same as mine. The mold is just the starting place.
Eleanora
>I don't really know why this is. I am not an academic nor in any way
>connected with academcia. Only by what I read do I get a glimpse into
>the academic side of the teaching of ceramic arts in schools. My sense
>of it is that the academic world for the most part focuses on "art" -
>whatever that means - and much of what else is to be found in the world
>of ceramics in the way of "how to" is left out. While I work
>principally as a studio "artist" my focus is probably more on production
>and production methods than most. And from my experience over time in
>that regard, people that come to my shop that are potters or working in
>other types of ceramic work are blown away by what I have going on. Like
>I throw on a wheel, make molds, do some slip casting, etc. Many who come
>to see me have. But when I ask if they have ever operated a plaster
>wheel, I am asked "What's that?" When asked if they know what a
>block-and-case mold is I get blank stares. It just seems to me that a
>lot is missing in art programs.
>
>Maybe Vince P or others involved in teaching in a formal post high
>school setting can address this. I hope they will. I would like to know.
>In addition to the fact I feel that the scope of ceramics for students
>is being shorted, I also feel there is a big chunk of the Ceramics pie
>that is missing because of the attitudes that I have encountered.
>
>Regards,
>
>John Rodgers
>Chelsea, AL
>
>Pamela Regentin wrote:
>>John Rodgers wrote:<<<>>jurors/art shows- especially where pottery or handbuilt pieces are
>>entered - are almost unanimously rejected. My work has been rejected
>>more times than I care to talk about, and it is a frustrating
>>experience. It is a prejudice based on total ignorance. All one can do
>>about it, it seems, is simply try and educate the uneducated and hope
>>for the best.>>>>>
>>
>>I'm wondering why this would be if ceramic artists are being taught these techniques (slip casting original designs) at art schools and the jurors presumably have some art education (art schools)? Why would there be total ignorance about slip cast work?
>>
>>Pam
--
Bellows Falls Vermont
www.eleanoraeden.com
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