Sean Burns on fri 9 apr 10
Hi folks,
I rolled into Quakertown Thursday afternoon round 3pm with my wife L=
=3D
ori-=3D20
via Mapquest directions to the Tobin Studio- found it sure enough but was=
=3D
=3D20
there way too early- I met Gary and another employee who told me the=3D20
reception started at 6pm- I didnt know when to show up really- but I look=
=3D
ed=3D20
around and got a feel for the what would be inside. Small Glacial boulder=
=3D
sized=3D20
pieces filled with crazed colored glass lined the street in front- the ki=
=3D
nd of=3D20
crazed glass my students make when they "experiment" with glasss -and=3D20
rusted parts of future skeletal forms were outside in an overall industri=
=3D
al=3D20
setting- my wife figured the guy came from money and played around with=3D2=
0=3D
clay- well- doesnt matter- the work is what it is- these ideas seem well=3D=
20=3D
travelled and familiar to me but I cant put a finger on it- The ability t=
=3D
o=3D20
produce the pieces - sell them- and employ people along the way speaks fo=
=3D
r=3D20
itself in my mind. I visited a friend from Art school days( which were =
=3D
back in=3D20
the 80's)last year in Seattle. He had just completed and opened his perma=
=3D
nent=3D20
installation at the Musuem of glass in Tacoma- and I got to have a reunio=
=3D
n=3D20
and visit his cold shop- It was the same type of operation as Tobin- A gu=
=3D
y=3D20
with vision and drive to create on a large scale- Industrial. While I was=
=3D
there=3D20
he had to do a deal with a banker- big time- phone ringing- secretary....=
=3D
..
Interestingly my friend and I both went to Art School- the place Tobi=
=3D
n=3D20
suggests students who want to make it as artists not bother with. This is=
=3D
not=3D20
new thinking- and there are points to be made for this line as well as=3D20=
=3D
emamples to point to- many. Art school engaged me as a visual learner at =
=3D
a=3D20
time when my mind was still developing- I wasnt ready to become a working=
=3D
=3D20
artist- my buddy who now is wasnt either. He was able to harness his driv=
=3D
e=3D20
and passion as well as hook up with some serious contacts to get the job=3D=
20=3D
done- wouldnt have happened any other way for him. As far as my two=3D20
current students going on to Maine College of Art and Montserrat- they wi=
=3D
ll be=3D20
getting the direction they need to explore career options in a supportive=
=3D
and=3D20
challenging environment- a good step for two quirky bohemians from a smal=
=3D
l=3D20
town high school and glad I was able to help!
I was able to meet my NCECA goals this year- stick out my hand to a few=
=3D
=3D20
new folks- do the mug trade-get some Dolan tools- and make sure my wife=3D2=
0=3D
had a good time- We wound up runing into the Tobin "Explosive Relationshi=
=3D
ps"=3D20
opening on our way to the dance on Friday- Kind of a serindipitous zen=3D20=
=3D
manuever. I got a chance to say hi to Steve- discuss the non food safenes=
=3D
s=3D20
of the forms with a stranger (aka new clay friend)- and enter the touch r=
=3D
oom!=3D20
The dance was a groove- we hung with the bass player before the start up=3D=
20=3D
and talked music some- I love it! He is philly guy who had played with He=
=3D
rbie=3D20
Hancock insted of going to Berklee on full scholarship- the school told h=
=3D
im to=3D20
go on the road instead of attending- too good to pass on. He wound up=3D20
getting his degree later - he has to kids and was playing that night as f=
=3D
ill in-=3D20
Sweet.
I am now at school having just showed my students the "ClayCon" NCEC=
=3D
A=3D20
Philadelphia powerpoint slide show they asked for- It ends with a slide o=
=3D
f the=3D20
Dali Lama flashing the peace sign at the Liberty Bell- a photo you see on=
=3D
your=3D20
way to the real thing- and the final shot is me in the same pose- with=3D20=
=3D
Independence Hall in the background- grateful for the inspiration and fre=
=3D
edom=3D20
of so many artistic perspectives in clay and otherwise.
Thank=
=3D
s-
=
=3D
Sean Burns
=
=3D
Williamsburg, Ma.
Eric Hansen on tue 13 apr 10
Hi Sean - I would have never gotten into clay it if wasn't for "Art School"
(KCAI)
nor would there ever have been a North Beach scene in San Francisco (SFAI)
in the '50's nor would Williamsburg in Brooklyn (Pratt) today boast 30,000
DIY & design & entrepeneurs - and the list goes on and on - huge cultural
contributions to our society made by a few small under-staffed and
under-supported hard working schools
People who resent those who hold credentials usually disrespect art schools=
,
I think it's unfair to reject artists and their work without knowing or
seeing it based on whether or not some affiliation exists that one disagree=
s
with. Better to judge the work, in my opinion. IMHO,
h a n s e n
On Fri, Apr 9, 2010 at 9:30 AM, Sean Burns wrote:
> Hi folks,
> I rolled into Quakertown Thursday afternoon round 3pm with my wife
> Lori-
> via Mapquest directions to the Tobin Studio- found it sure enough but was
> there way too early- I met Gary and another employee who told me the
> reception started at 6pm- I didnt know when to show up really- but I look=
ed
> around and got a feel for the what would be inside. Small Glacial boulder
> sized
> pieces filled with crazed colored glass lined the street in front- the ki=
nd
> of
> crazed glass my students make when they "experiment" with glasss -and
> rusted parts of future skeletal forms were outside in an overall industri=
al
> setting- my wife figured the guy came from money and played around with
> clay- well- doesnt matter- the work is what it is- these ideas seem well
> travelled and familiar to me but I cant put a finger on it- The ability t=
o
> produce the pieces - sell them- and employ people along the way speaks fo=
r
> itself in my mind. I visited a friend from Art school days( which were
> back in
> the 80's)last year in Seattle. He had just completed and opened his
> permanent
> installation at the Musuem of glass in Tacoma- and I got to have a reunio=
n
> and visit his cold shop- It was the same type of operation as Tobin- A gu=
y
> with vision and drive to create on a large scale- Industrial. While I was
> there
> he had to do a deal with a banker- big time- phone ringing- secretary....=
..
> Interestingly my friend and I both went to Art School- the place Tobin
> suggests students who want to make it as artists not bother with. This is
> not
> new thinking- and there are points to be made for this line as well as
> emamples to point to- many. Art school engaged me as a visual learner at =
a
> time when my mind was still developing- I wasnt ready to become a working
> artist- my buddy who now is wasnt either. He was able to harness his driv=
e
> and passion as well as hook up with some serious contacts to get the job
> done- wouldnt have happened any other way for him. As far as my two
> current students going on to Maine College of Art and Montserrat- they wi=
ll
> be
> getting the direction they need to explore career options in a supportive
> and
> challenging environment- a good step for two quirky bohemians from a smal=
l
> town high school and glad I was able to help!
> I was able to meet my NCECA goals this year- stick out my hand to a few
> new folks- do the mug trade-get some Dolan tools- and make sure my wife
> had a good time- We wound up runing into the Tobin "Explosive
> Relationships"
> opening on our way to the dance on Friday- Kind of a serindipitous zen
> manuever. I got a chance to say hi to Steve- discuss the non food safenes=
s
> of the forms with a stranger (aka new clay friend)- and enter the touch
> room!
> The dance was a groove- we hung with the bass player before the start up
> and talked music some- I love it! He is philly guy who had played with
> Herbie
> Hancock insted of going to Berklee on full scholarship- the school told h=
im
> to
> go on the road instead of attending- too good to pass on. He wound up
> getting his degree later - he has to kids and was playing that night as
> fill in-
> Sweet.
> I am now at school having just showed my students the "ClayCon" NCECA
> Philadelphia powerpoint slide show they asked for- It ends with a slide o=
f
> the
> Dali Lama flashing the peace sign at the Liberty Bell- a photo you see on
> your
> way to the real thing- and the final shot is me in the same pose- with
> Independence Hall in the background- grateful for the inspiration and
> freedom
> of so many artistic perspectives in clay and otherwise.
> Thanks=
-
>
> Sean Burns
>
> Williamsburg, Ma.
>
Snail Scott on wed 14 apr 10
On Apr 13, 2010, at 6:20 PM, Eric Hansen wrote:
> People who resent those who hold credentials usually disrespect art
> schools...
True, but it is also a mistake to see art schools as the
only way to become an artist.
Steve Tobin made a big deal about how he never
went to art school, but got training directly from
individual working artists instead of 'art teachers'.
He said (I synopsize from memory) that teachers
could not teach you how to be an artist, since they
themselves weren't artists, or weren't artists anymore.
They'd basically plateaued in their own careers and
couldn't be useful in helping anyone else go further.
(Clearly, skipping art school worked for him.)
While (as an art teacher) I rather resented this, there is
some truth to it as well. If you spend time not making
art, by (say) teaching instead, you are not furthering
the development of your own work as much as you
could, and you have less to offer students in that
regard. You become a model as a teacher, not as
an artist. Most of us know an art teacher who _used
to be_ an artist...
(Do I fear a personal slide into mediocrity, greased
by the lure of that steady if modest paycheck? Yes.)
A lot of art teachers go directly from their own school
experience as students to being teachers without ever
leaving the academic environment. Naturally this is
bound to bias their teaching toward the academic
approach that they know best. Many don't know the
first thing about other paths as artists. Some do, but
many don't. And simple math shows that most of their
students are NOT going to be following them into
teaching.
I'm not sure it's possible to teach someone to be an
artist if the raw material isn't there. The desire to be an
artist - really, really want it - has to be first. It's too tough
a life for a dilettante. I'm supposed to be a recruiter for
the art program, but I'd rather tell students that if they
can imagine themselves being happy doing anything
else with their lives, they ought to go do that instead.
School won't make you an artist. Only you can make
you an artist. But, school may make you a better artist,
a more knowledgeable artist, a more versatile artist,
and (not least) a more educated human being.
School can be detrimental for some would-be artists.
People who thrive on structure and guidance may not
realize their dependence on it until left on their own
after graduation to make their own way. Some people
tend to seek the one 'right way' to do everything, and
school can inadvertently reinforce this habit, resulting in
unoriginal, hidebound and self-restricted thinking. Some
people chafe at the inevitable restrictions placed by set
assignments, even if those assignments are intended to
teach useful skills and ideas, and end up learning less
than they would have on their own. And some people
unwittingly choose inappropriate schools for their goals.
School can, on the other hand, be an intensive exposure
to a range of ideas and methods that the student would
never have found on their own, both from faculty and
from other students. Learning other people's ideas is
not about losing your own, but about augmenting them,
and strengthening your own work in a dialogue (or
argument) that winnows out the weak parts and refines
the strengths.
I have tried it both ways. I got my degree in another field,
and figured out art on my own time. I did OK, but I also
spent a lot of time reinventing the wheel, when a few
pointers and thoughtful observations could have saved
me a lot of time and effort. School isn't the only place to
get those, but it's one of the most reliable and easy to find.
I suspect that most teachers have figured out what I have:
that the best students will often not be the best artists. They
are people who do school well, but may not have what it
takes to be an independent artist. The skill set between
being an art student and being an artist overlaps by about
75%, I think. The ones who turn in every assignment on
time and fulfill all the requirements are a delight to a
teacher - so much less work and trauma for me! But I
know that some of the annoying ones - the loose cannons
pulling a 'C-' average - are the ones that have the sheer
stubbornness and commitment to their own vision that
they will need to succeed. Not all of them, for sure. It
takes more than an attitude to be an artist. But good
grades don't mean squat in the real world.
We just put up the annual student exhibition, juried by
the faculty. Every year I get a bewildered question from a
student as to why I picked some piece that I gave a bad
grade to when it was originally presented. The answer is
that it was better art. Not a better response to the class
assignment, maybe, but better art.
Sometimes I do believe that art school is too protective an
environment. We don't want to hurt anyone's feelings, but
the real world is less kind and far more competitive. And
no one should be left with the delusion that everything
they need to know was included in their formal education.
School is just school. It's useful, but it has limits.
-Snail
Lee Love on wed 14 apr 10
Art school is up to the person and what works for them. But anybody
that doesn't respect teachers is not anybody I can respect. And I
have no time for their work either.
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
Snail Scott on wed 14 apr 10
On Apr 14, 2010, at 3:52 PM, Randall Moody wrote:
> So if a doctor isn't a physician with a practice he can't teach a
> person how to be a doctor? If a steamfitter isn't in the bowels of a
> ship each day he can't teach you how to be a steamfitter? This is
> kind of a silly concept.
> Going to school will not make you an artist. Not going to school
> will not make you an artist.Making art is the only thing that will
> make you an artist...
My point exactly. Art school has limitations. Not
going to art school has limitations. Not making
art is the biggest limitation!
I have indeed known teachers who 'used to be'
artists, whose teaching has entirely taken over
from their own artmaking. For some, this is a
tragedy, and their frustration and sense of a short-
circuited career is conveyed to their students. For
others, it has meant a total focus on teaching,
and there are those whom I consider mediocre
artists who are nevertheless excellent, even
brilliant, teachers. Some very good artists cannot
even articulate how they make their own work,
much less help others to make their own, and
are truly rotten teachers. It's a different skill set.
-Snail
Vince Pitelka on wed 14 apr 10
Eric Hanson wrote:
"People who resent those who hold credentials usually disrespect art
schools,
I think it's unfair to reject artists and their work without knowing or
seeing it based on whether or not some affiliation exists that one disagree=
s
with. Better to judge the work, in my opinion."
Eric hits the nail on the head here. Judge the work. Pick a random
sampling of educators in ceramics programs nationwide and judge the work.
You will find a very small number who are "deadwood" - who have peaked and
are stagnant or unproductive.
Success can be an artist's worst enemy if it inspires them to become
imitative and derivative of their own work (I think that Lee Love posted a
quote to this effect recently), and that can happen in or out of academia.
It takes serious commitment, in or out of academia, to keep evolving as an
artist.
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net; wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka
Vince Pitelka on wed 14 apr 10
Snail Scott wrote:
"Steve Tobin made a big deal about how he never went to art school, but got
training directly from individual working artists instead of 'art teachers'=
.
He said (I synopsize from memory) that teachers could not teach you how to
be an artist, since they themselves weren't artists, or weren't artists
anymore. They'd basically plateaued in their own careers and couldn't be
useful in helping anyone else go further."
Snail -
No matter how wonderful Steve Tobin and his work might be, his words that
you synopsize are those of someone who either doesn't know much about art
school, or is expressing sour grapes because he wanted to go to art school
and never did. There are lots of avenues to becoming a professional artist=
,
and art school is just one of them. A few people are proactive, committed,
and ambitious enough to become professional artists on their own just as
fast as if they went to art school. That's pretty rare. It seems that
Steve Tobin is one of those people, but is that any reason to have such a
sour attitude about art school? There are excellent art schools, and there
are excellent teacher/artists who successfully combine being a professional
teacher and a professional artist. It is a challenge, but it is possible.
You wrote:
"While (as an art teacher) I rather resented this, there is some truth to i=
t
as well. If you spend time not making art, by (say) teaching instead, you
are not furthering the development of your own work as much as you
could, and you have less to offer students in that regard. You become a
model as a teacher, not as an artist. Most of us know an art teacher who
_used to be_ an artist..."
I write:
It's true that most of us have known teachers who have plateaued in their
work, and are either making the same old stuff, or have stopped making art
altogether except as demos in their classes. That's a sad thing to see, bu=
t
the same is true in every career, and some people simply do not have the
initiative to keep developing, especially if they are protected by tenure.
Don't get me wrong, I am 100% in favor of the noble reasons for the tenure
system, but that's the downside to it.
But I disagree with what you are saying otherwise. Teaching art,
interacting with students, and critiquing artwork is enormously inspiring
and rewarding, and for lots of teachers, it really fuels their artwork and
their evolution as artists. The best artist/teachers feed off of their
interaction with students in a very positive way.
I do not deserve to be held up as any kind of example, because I have done =
a
poor job of promoting and exhibiting my work, and that is something a
serious professional artist must do. But anyone who wants to can go to the
gallery page (http://iweb.tntech.edu/wpitelka/gallery/gallery.htm) of my
website and click on "Railroad Stoneware" and "Slipware" to see what I was
doing before grad school, click on "Early Work" to see what I did in grad
school, click on "Recent Work" (I need to change that to some other heading=
)
to see what I did for the first fifteen years after grad school, and click
on "Current Work" to see my most recent work. Would I have advanced faster
if I had been making my living as a full-time professional artist? I don't
think there is a chance in hell of that. I would have been constantly
thinking of what will bring in the money to support myself, and would not
have been willing to take risks in my work. Being in a teaching job frees
the artist to take chances. Some teachers squander that opportunity, and
that tarnishes the impression of every teacher, but nowhere near to the
degree that Steve Tobin implies. He does himself no credit at all with suc=
h
extreme generalizations about art school. There are large numbers of
university educators in ceramics who do incredible artwork, and who's work
evolves over the years. For them, the university environment inspires and
energizes them. It certainly does that for me.
You wrote:
"A lot of art teachers go directly from their own school experience as
students to being teachers without ever leaving the academic environment.
Naturally this is bound to bias their teaching toward the academic
approach that they know best. Many don't know the first thing about other
paths as artists. Some do, but many don't. And simple math shows that most
of their students are NOT going to be following them into teaching."
I write:
Yes, that is an unfortunate reality. It doesn't mean that they are not goo=
d
teachers, or that they are not good artists, but they often do not have any
sense of what it takes to be a self-supporting artist in the real world.
That is one of the primary shortcomings of art school. Such teachers often
inspire their students to be artists, only to release them into the real
world with few artist's survival skills.
You wrote:
"School won't make you an artist. Only you can make you an artist. But,
school may make you a better artist,
a more knowledgeable artist, a more versatile artist, and (not least) a mor=
e
educated human being."
"School can . . . . be an intensive exposure to a range of ideas and method=
s
that the student would never have found on their own, both from faculty and
from other students. Learning other people's ideas is not about losing your
own, but about augmenting them, and strengthening your own work in a
dialogue (or argument) that winnows out the weak parts and refines the
strengths."
I write:
Yes. Absolutely.
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net; wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka
Randall Moody on wed 14 apr 10
>Steve Tobin made a big deal about how he never
>went to art school, but got training directly from
>individual working artists instead of 'art teachers'.
>He said (I synopsize from memory) that teachers
>could not teach you how to be an artist, since they
>themselves weren't artists, or weren't artists anymore.
>They'd basically plateaued in their own careers and
>couldn't be useful in helping anyone else go further.
So if a doctor isn't a physician with a practice he can't teach a person ho=
w
to be a doctor? If a steamfitter isn't in the bowels of a ship each day he
can't teach you how to be a steamfitter? This is kind of a silly concept.
Going to school will not make you an artist. Not going to school will not
make you an artist.Making art is the only thing that will make you an
artist. I would say that Tobin did in fact go to art school. He simply
didn't go to a building labeled "Art School".
--
Randall in Atlanta
http://wrandallmoody.com/home.html
Eric Hansen on thu 15 apr 10
snail:
>
> Steve Tobin made a big deal about how he never
> went to art school, but got training directly from
> individual working artists instead of 'art teachers'.
> He said (I synopsize from memory) that teachers
> could not teach you how to be an artist, since they
> themselves weren't artists, or weren't artists anymore.
> They'd basically plateaued in their own careers and
> couldn't be useful in helping anyone else go further.
>
This isn't necessarily true. My best teachers were full time professional
exhibiting artists first and foremost (who? Ken Ferguson, Jim Leedy, Victor
Babu, Joe Zeller, Dave Vertacnik, Bill Bracker, Tinsley Wert), and still
found time to put in long hours in the studios with their students. It is
often a requirement at some of the better institutions. i might add that it
is hard to augment your self-taught approach with masters level art history=
,
archeological ceramics, computer lab, glaze station, and some of the other
things you get at school - oh yes working in a peer group with like-minded
artists, painters, photographers, architechts, graphic designers,
illustrators, metalsmiths, sculptors, etc.
There isn't any shortage of people out trying their hand at art outside the
educational system. But I don't see any proof that their success rate is an=
y
better. The art business is tough by any standard, and no matter how you
start your learning process, in the end you become 99% self-taught anyway -
i think of the professors in my early days as more inspiration that hands-o=
n
instructors. In fact that is one of the things I love about clay. Much of
the hand positions and physics dynamics I use on the wheel were never taugh=
t
by anyone - most learning is found in the medium and materials themselves i=
f
you can structure a learning curve with constant feed back -
Also what is called art today has changed to the benefit of the
self-directed. 50 years ago you couldn't do the DIY projects and folk art,
outsider art, raw primitive art, and have it recognized. Yes, you could do
it, but expecting anyone to recognize it as artistic - that wasn't what it
is today. And, ironically, this recognition and broadening of the definitio=
n
of art, in many ways a product of academia as well -
All that having been said, I am not sure if being a full-time artist or
potter is necessarily the best way to make the best work. Often the demands
of a career and success conflict with being able to explore the medium to
its fullest, and to explore our expression to its fullest. There is for
example plenty of production potters who repeat ad infinitum the "safest"
reproduction-oriented design and somehow seem never to question either the
clay nor themselves. I have a feeling the illustration-oriented and
sculptural-oriented artists typical at NCECA or elsewhere might be equally
formulaic. That design is somehow not foremost, but rather the portfolio.
Ultimately this won't work as well as well in the finished product.
just food for thought
h a n s e n
rickmahaffey@COMCAST.NET on fri 16 apr 10
I met Tobin at the Bienealle (sp?) in Korea.=3DC2=3DA0 He had no time for m=
e, b=3D
ut he had time for the very attracive Art Teacher (Sculptor) in our group.=
=3D
=3DC2=3DA0 I thought he was smart about that!!=3D20
I did not have the opportunity to see his studio in Pennsylvania, but, if I=
=3D
recall the discritption correctly, =3DC2=3DA0it sounds like he had a lot o=
f mo=3D
ney to spend.=3DC2=3DA0 When you have lots of money more things are possibl=
e an=3D
d perhaps with that kind of backing you can buy whatever expertise you need=
=3D
.=3DC2=3DA0 For the rest of us going to school is uisually a cost effective=
way=3D
to acqure the expertise that we might need.=3D20
I agree with Lee, in any class situation what you get out of it is largely =
=3D
dependent on what you put in and how open you are to the instruction.=3DC2=
=3DA0=3D
It always depends more on the student that on me in my studio.=3DC2=3DA0=
=3DC2=3DA0=3D
=3D20
As for his work, it smacks a bit of a gimmick, but some of the results are =
=3D
quite good!!!=3D20
YMMV,=3D20
Rick=3D20
Lee Love on fri 16 apr 10
On Thu, Apr 15, 2010 at 3:22 PM, Eric Hansen
wrote:
> snail:
>
>>
>> Steve Tobin made a big deal about how he never
>> went to art school, but got training directly from
>> individual working artists instead of 'art teachers'.
>> He said (I synopsize from memory) that teachers
>> could not teach you how to be an artist, since they
>> themselves weren't artists, or weren't artists anymore.
>> They'd basically plateaued in their own careers and
>> couldn't be useful in helping anyone else go further.
>
> This isn't necessarily true.
I agree. Steve's experience must be limited. I'm thinking maybe the
difference is between artists working in clay and studio potters
making functional work. My teachers are artists that teach. I saw
the guy who taught me to throw, Mark Pharis. He walked through the
glaze area at NCC while I was glazing up some pots for the soda kiln.
He is differentiately a working artist.
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
May Luk on sat 17 apr 10
His studio is HUGE. Coming from NYC, I have a serious case of real
estate envy when I first walked in. Once I got over that, I really
enjoyed his work and his hospitality. It is really something when you
can see decades of work all in one place and have the artist explains
it. I am very much interested in the life of the artists/ makers/
creators and the connection with the work or the place. That's why I
enjoyed talking to potters & their work in the Clayart
room. And that is why we all like going to open studios.
Regards
May
On Fri, Apr 16, 2010 at 6:43 PM, =3DA0 wrote:
> I did not have the opportunity to see his studio in Pennsylvania, but, if=
=3D
I recall the discritption correctly, =3DA0it sounds like he had a lot of m=
on=3D
ey to spend.=3DA0 When you have lots of money more things are possible and =
pe=3D
rhaps with that kind of backing you can buy whatever expertise you need.=3D=
A0=3D
For the rest of us going to school is uisually a cost effective way to acq=
=3D
ure the expertise that we might need.
>
>
>
> I agree with Lee, in any class situation what you get out of it is largel=
=3D
y dependent on what you put in and how open you are to the instruction.=3DA=
0 =3D
It always depends more on the student that on me in my studio.
>
>
>
> As for his work, it smacks a bit of a gimmick, but some of the results ar=
=3D
e quite good!!!
>
>
>
> YMMV,
>
> Rick
>
--
http://twitter.com/MayLuk
--=3D20
http://twitter.com/MayLuk
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