claybuds@ATT.NET on mon 22 jun 09
=3DC2=3DA0
Lee,
=3DC2=3DA0What had Ruskin and Morris bellowing against the machine in their=
day=3D
would have them turning over in their graves today. I understand from your=
=3D
answer to my question why I love the kind of work we make, but I still do=
=3D
n't understand why living with=3DC2=3DA0and=3DC2=3DA0selling what we love t=
o make c=3D
onstitutes a threat to consumer culture. I know I'm considered an oddball, =
=3D
but I never considered what I do to be blasphemous.
=3DC2=3DA0I did see a piece of Kamoda's work that was appealing. Thanks for=
sho=3D
wing the link.
David Beumee
-------------- Original message from Lee Love : -=
=3D
-------------=3D20
> On Sun, Jun 21, 2009 at 8:23 AM, Lee Love wrote:=3D20
>=3D20=3D20
> >=3D20
> > =3DC2=3DA0 =3DC2=3DA0 =3DC2=3DA0 =3DC2=3DA0 Read some William Morris. =
=3DC2=3DA0 The arts a=3D
nd crafts movement was=3D20
> > all about humane =3DC2=3DA0production for people instead of profit at a=
ny=3D
=3D20
> > price.=3D20
>=3D20=3D20
> This might be "enlightening." We are so absorbed by consumer=3D20
> culture, that Morris's title of this essay will give most post-modern=3D2=
0
> people the Willies:=3D20
>=3D20=3D20
> http://preview.tinyurl.com/williammorris=3D20
>=3D20=3D20
> --=3D20
> Lee Love, Minneapolis=3D20
> "The tea ceremony bowl is the ceramic equivalent of a sonnet: a=3D20
> small-scale, seemingly constricted form that challenges the artist to=3D2=
0
> go beyond mere technical virtuosity and find an approach that both=3D20
> satisfies and transcends the conventions." -- Rob Sliberman=3D20
> full essay: http://togeika.multiply.com/journal/item/273/
Lee Love on mon 22 jun 09
On Sun, Jun 21, 2009 at 11:07 PM, wrote:
> understand why living with=3DA0and=3DA0selling what we love to make const=
itut=3D
es a
> threat to consumer culture. I know I'm considered an oddball, but I never
> considered what I do to be blasphemous.
Intention has some part in it, but as I was discussing with someone
in private email, we live in a society that has lost contact with its
mythology. When you are unaware or deny your mythology, it has
dangerous consequences. Functional pottery is a part of these old
archetypal principles. In the post-modern, relativistic paradigmn,
finding these universal meanings and putting them forward is
threatening to consumer society and art as a commodity. It is why
these types of artists don't acknowledge things like beauty and
perennial wisdom and find functional pots threatening.
Things that abide are threatening to the throw away, consumer societ=
=3D
y.
--
Lee Love, Minneapolis
"The tea ceremony bowl is the ceramic equivalent of a sonnet: a
small-scale, seemingly constricted form that challenges the artist to
go beyond mere technical virtuosity and find an approach that both
satisfies and transcends the conventions." -- Rob Sliberman
full essay: http://togeika.multiply.com/journal/item/273/
Eric Hansen on mon 22 jun 09
David: Try to visualizing living in a society where there is no trash
service, yet still the corporations still reach you with all their
packaging. Sometimes the product is *only* packaging. It all accumulates in
your backyard until it is a health hazard, then you have to move. Then the
process starts all over again. It is like some kind of bizarre Buddhist
hell, but it IS how much of the world lives...
On the other hand, roll back the clock to circa 1947, before the first
synthetics were produced. The development of synthetics was subsidized by
the govt, largely for military and political reasons which we can't go into
here (as it would be off topic) but the end result is a substantial world
wide drop in the demand of functional ceramics.
Ever wonder why real things are more expensive than fake ones? Its because
your tax dollars have helped pay for the fake. Think over the ramifications=
.
h a n s e n
On Sun, Jun 21, 2009 at 9:11 AM, wrote:
> Lee,
> Could you explain how tradtional crafts are enemies of the consumer
> culture?
>
> David Beumee
>
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