Kelly Savino on sun 18 apr 10
It seems to me that the person who posted the art school ramt hadn't taken =
a very serious sample of the offerings. My prof certainly focused on throwi=
ng, and a lot of colleges do. If you're sitting in the wrong church, you ca=
n't blame the choir for singing the wrong songs.
It also seems to me that Tobin's anti-academic rant was as much a challenge=
as a dismissal. It's true that I can't see any way -- even with the risks =
he has taken and the long term planning -- that he started out on a shoestr=
ing budget like mine, weighing groceries and braces for the kids against su=
pplies for the studio. So maybe he's a trust fund baby, or in some other wa=
y got lucky in the birth lottery. I'd like to think so, because then I coul=
d feel a little smug about being what he categorizes as a "sell out".
Still, there was a glove thrown down there, and his remark had a grain of t=
ruth in it. Before NCECA I had submitted my Clay Times column about how my =
totally non-art-major non-ceramics community college students often have a =
fresher, more creative approach to projects than the students at the guild =
or in my private studio sessions. They don't copy each other or the latest =
workshop guru, the cover of Ceramics Monthly or the pots of the potter next=
to them. They don't make art about art so that only the smallest group of =
initiated insiders can figure out what it's about. They don't get famous fo=
r one "look" or one pot or one gimmick and then repeat it for a decade to s=
uit public demand or their galleries, resisting growth or innovation becaus=
e they already found a sweet spot.
I used to think my little kids were so smart because they could look at my =
mags with me and say "that's Boomer Moore! That's Rimas Visgirda! That's Li=
nda Arbuckle!" But now the question kind of haunts me... if any of those ar=
tists headed out on a whole new line of inquiry that nobody would recognize=
as their signature work... what then? The potters whose work I love, I ho=
pe will never stop making the stuff that rocks my world... the ones who don=
't light my fire, inspire me to roll my eyes and mumble, "ten years later a=
nd you're still making that exact same pot?" Some I am sure find enough in=
terest and innovation in variations-on-a-theme to keep growing. Some evolve=
while maintaining their identity, which looks like a win-win to me. Lana W=
ilson's work, for example -- new functional stuff the grandbabies can use, =
but still recognizably Lana.
As a teacher, I have to say that I can damn well throw, and can teach anyon=
e with at least one arm how to throw, as well. (And teach them to see, and =
think, and decide about what's worth throwing). And I have to second the co=
mment that if I had to make a living as an artist, where I live, I'd have t=
o make blue french butter dishes and art fair sure-bets in tedious repetiti=
on (at least for my rabbit-chasing attention span) and I would have little =
time to tread the creative paths of innovation and impracticality.
I am glad I met Steve Tobin, because he operates on a different plane than =
I do. Unless you look at your situation from the outside, you don't always =
see where the boggy spots are, the clusters of ego and creative inbreeding,=
the easy roads and the dead ends. It's a struggle to take in all the fine =
art and fashion trend, novelty and concept, line and design of the ceramic =
world and then not imitate -- not even in that collage-of-this-from-here-an=
d-that-from-there way. I can't honestly dismiss the work of people I consid=
er really "out there" with my usual mumble of, "yeah, I don't smoke that st=
uff anymore..." because innovation is hard to come by, and imitation or the=
success of others is almost the default mode. Likely it's how we evolved a=
s a species.
And Tobin's remarks put me on the defensive just enough to make me consider=
the importance of what I do. I put the love of clay, and the skill to move=
forward, into the hands of 40 or 50 people every year. Some find it a ther=
apeutic change of pace, a fun and distracting challenge. Some find it a lif=
e changing experience. Sure, I may not be famous and there's no book about =
me or million dollar commision waiting, but it's not just about ME, either,=
and I'm good with that. We can change the world in small, unnoticed and da=
ily ways.. women have been doing it forever.
Inch by inch, row by row
Kelly in Ohio, where it's "as soon as soil can be worked" but weeks from "l=
ast frost". Peas and onions in, tomatoes and eggplants waiting under the sh=
op lights...
http://www.primalpotter.com (website)
http://primalmommy.wordpress.com (blog)
http://www.primalpotter.etsy.com (store)
Stephani Stephenson on mon 19 apr 10
Kelly
there were a number of thoughts in your post, and almost every single li=
=3D
ne
could be the basis for a discussion.
My own response sounds perhaps like a platitude, as if I don't want to
examine these things. But my perspective, right now, in my life, is simp=
=3D
ler
than it use to be.
That is: all these labels, categories, ways of identifying ourselves just=
=3D
do
not matter, (except as ways of identifying ourselves!).=3D20
it does not matter how you get to a certain place or point in time with y=
=3D
our
work.=3D20
Either you are someone who will keep reexamining your work, your relation=
=3D
to
it in your life, or you are not, or you are somewhere in between the two
extremes, (where most of us are)
No matter how many people are around you, no matter how, much or little
feedback you request or subject yourself to, no matter whether it is the
coin of the realm or the respect of peers you seek or do not seek, no mat=
=3D
ter
how long or short your resume or list of exhibitions, no matter how big =
=3D
or
small your kiln,=3D20
You start somewhere and you continue.=3D20
You keep moving, observing, connecting,(insert any verb you like here),=3D=
20=3D
or you don't. It has nothing to do with whether you herald innovation
that will spark or shock, or champion quiet traditions, unfolding in gent=
=3D
ler
ways.
You may find a focus on craft or process takes you through some years. Y=
=3D
ou
may find there is a time for bringing your work to a wider audience, whet=
=3D
her
that audience is the marketplace, of academia, of sharing your skills wit=
=3D
h
others. you may find there is a time to focus on a smaller circle. you ma=
=3D
y
have your creative births and renewals with great fanfare, or you may hav=
=3D
e
them quietly . you may chomp at the bit, feel exhausted, feel genuine or=
=3D
you may feel like a fraud, no matter who you are or where you come from.
No matter what anyone thinks or says ,no matter how anyone else does it,
decisions about these things are ultimately between you and your medium.=
=3D
you renew your relationship with your medium, much the way you renew othe=
=3D
r
relationships in your life.
in the context of the river of one's life, we navigate each bend or stret=
=3D
ch,
We all have different vessels , different river, different landscape,
different weather, different story.
We come together to celebrate and navigate at different junctures ,yet=3D2=
0=3D
despite this rain of influences and interactions, is , for each, I beli=
=3D
eve
a solitary journey.=3D20
Stephani Stephenson
Eric Hansen on mon 19 apr 10
Kelly, all: Wish I could get a transcript of what Tobin said but from
hearsay evidence, etc.: (& he isn't of the caliber of Andy Goldsworthy of
Martin Puyear or Tadashi Kawamata) he does have a college degree in
mathematics - and he doesn't list his full bio, I suspect that there he is
fudging a little. We are all self-taught artists anyway. It is possible wit=
h
large public installation projects to generate quite a bit of revenue. My
brother is in this business, but without the ego issues that Tobin obviousl=
y
suffers from. Tobin probably built his studio from sale of large sculpture.
His work looks like a mathemetician pretending to dabble in art if you ask
me. I can easily see his lack of training and study in areas like sculpture
and/or painting. Still that doesn't really mean anything, if he likes it &
his customers like it & all is well what difference does it make? Instead o=
f
a bio he lists an inane essay comparing his work to DuChamp, others. Sorry,
there is no DuChamp in Tobins work. The essay is drivel.
h a n s e n
On Mon, Apr 19, 2010 at 12:43 AM, Kelly Savino
wrote:
> It seems to me that the person who posted the art school ramt hadn't take=
n
> a very serious sample of the offerings. My prof certainly focused on
> throwing, and a lot of colleges do. If you're sitting in the wrong church=
,
> you can't blame the choir for singing the wrong songs.
>
> It also seems to me that Tobin's anti-academic rant was as much a challen=
ge
> as a dismissal. It's true that I can't see any way -- even with the risks=
he
> has taken and the long term planning -- that he started out on a shoestri=
ng
> budget like mine, weighing groceries and braces for the kids against
> supplies for the studio. So maybe he's a trust fund baby, or in some othe=
r
> way got lucky in the birth lottery. I'd like to think so, because then I
> could feel a little smug about being what he categorizes as a "sell out".
>
> Still, there was a glove thrown down there, and his remark had a grain of
> truth in it. Before NCECA I had submitted my Clay Times column about how =
my
> totally non-art-major non-ceramics community college students often have =
a
> fresher, more creative approach to projects than the students at the guil=
d
> or in my private studio sessions. They don't copy each other or the lates=
t
> workshop guru, the cover of Ceramics Monthly or the pots of the potter ne=
xt
> to them. They don't make art about art so that only the smallest group of
> initiated insiders can figure out what it's about. They don't get famous =
for
> one "look" or one pot or one gimmick and then repeat it for a decade to s=
uit
> public demand or their galleries, resisting growth or innovation because
> they already found a sweet spot.
>
> I used to think my little kids were so smart because they could look at m=
y
> mags with me and say "that's Boomer Moore! That's Rimas Visgirda! That's
> Linda Arbuckle!" But now the question kind of haunts me... if any of thos=
e
> artists headed out on a whole new line of inquiry that nobody would
> recognize as their signature work... what then? The potters whose work I
> love, I hope will never stop making the stuff that rocks my world... the
> ones who don't light my fire, inspire me to roll my eyes and mumble, "ten
> years later and you're still making that exact same pot?" Some I am sure
> find enough interest and innovation in variations-on-a-theme to keep
> growing. Some evolve while maintaining their identity, which looks like a
> win-win to me. Lana Wilson's work, for example -- new functional stuff th=
e
> grandbabies can use, but still recognizably Lana.
>
> As a teacher, I have to say that I can damn well throw, and can teach
> anyone with at least one arm how to throw, as well. (And teach them to se=
e,
> and think, and decide about what's worth throwing). And I have to second =
the
> comment that if I had to make a living as an artist, where I live, I'd ha=
ve
> to make blue french butter dishes and art fair sure-bets in tedious
> repetition (at least for my rabbit-chasing attention span) and I would ha=
ve
> little time to tread the creative paths of innovation and impracticality.
>
> I am glad I met Steve Tobin, because he operates on a different plane tha=
n
> I do. Unless you look at your situation from the outside, you don't alway=
s
> see where the boggy spots are, the clusters of ego and creative inbreedin=
g,
> the easy roads and the dead ends. It's a struggle to take in all the fine
> art and fashion trend, novelty and concept, line and design of the cerami=
c
> world and then not imitate -- not even in that
> collage-of-this-from-here-and-that-from-there way. I can't honestly dismi=
ss
> the work of people I consider really "out there" with my usual mumble of,
> "yeah, I don't smoke that stuff anymore..." because innovation is hard to
> come by, and imitation or the success of others is almost the default mod=
e.
> Likely it's how we evolved as a species.
>
> And Tobin's remarks put me on the defensive just enough to make me consid=
er
> the importance of what I do. I put the love of clay, and the skill to mov=
e
> forward, into the hands of 40 or 50 people every year. Some find it a
> therapeutic change of pace, a fun and distracting challenge. Some find it=
a
> life changing experience. Sure, I may not be famous and there's no book
> about me or million dollar commision waiting, but it's not just about ME,
> either, and I'm good with that. We can change the world in small, unnotic=
ed
> and daily ways.. women have been doing it forever.
>
> Inch by inch, row by row
>
> Kelly in Ohio, where it's "as soon as soil can be worked" but weeks from
> "last frost". Peas and onions in, tomatoes and eggplants waiting under th=
e
> shop lights...
>
>
>
>
>
> http://www.primalpotter.com (website)
> http://primalmommy.wordpress.com (blog)
> http://www.primalpotter.etsy.com (store)
>
Bonnie Staffel on tue 20 apr 10
When I started out in clay, lo 60 years ago, it still seems like =3D
yesterday.
A lot of my pots have flowed of the wheel and from my hands. The first =3D
25
years I made singular vessels as I was developing my skills and learning =
=3D
the
materials and firing processes. In those days it was IMO important to
establish one's reputation by entering local, regional and national
competitions so that the work would be noticed. No duplications but just
plain creativity came from my head along with experiments with glazes =3D
and
forms.=3D20
When making a living reared it's ugly head in the 60s, I had to rethink =3D
my
way of working. So when we opened out studio up north, I started in
production of mugs and the then popularity of decorative mushrooms. At =3D
least
I could make them each differently, and then used them to test the =3D
electric
fired glazes that I had to turn to since leaving my gas kiln in Ohio. I =3D
was
thankful as those mushrooms paid our early bills of the new venture =3D
while
the husband still had a job in Ohio. I was also an avid gardener so =3D
produced
hanging planters, which were also the popular item at the time. To keep
myself from getting bored doing the same thing over and over again, I =3D
tried
to give each one something unique or at least a different slant. But =3D
during
the winter, I would take a few months to get back to my sculptural work. =
=3D
I
did enjoy thinking up new items to add to our shop so also used that =3D
time
for thinking as well as experimenting with new functional forms and =3D
testing
things in my own kitchen.=3D20
New glazes over those years opened up new visuals to my functional work =3D
and
having my own shop, I was in charge of what I wanted to show. Summer
brought the tourists and the many returnees would come in my shop and =3D
always
ask, "What's new?" About the last five years our shop was open, seems =3D
like
my florals took over in the popularity scheme of sales. I was really =3D
getting
very bored with the theme, but I saved myself by adding new floral =3D
patterns,
new color schemes, new arrangements. If you look at the photos of some =3D
of my
work on the website, you can see I moved on to new things all the time. =3D
I
would choose a theme and work within that theme, with variations until I =
=3D
got
bored or sales waned on that item. I might add that I have made bird =3D
forms
through my whole 60 year career, changing their looks over the years. I
still find a certain joy to sit down at the wheel and throw a dozen =3D
birds at
a time, but each one has an attitude of its own. But a dozen is about =3D
the
number I can handle mentally at a time. I have more photos of various =3D
pots
on FaceBook as I found a whole box of slides showing long ago work.=3D20
Now I am exploring handbuilding again as I find it relaxing and so
versatile. I even explore the primitive smoke and pit firing to give me =3D
new
ways to experiment with my curiosity in using different chemicals. The
mystique of clay is never ending.
I always wondered if I was an odd ball by not sticking to a certain kind =
=3D
of
work, but that is just not my way. Collectors tell me they see a style =3D
that
flows through all of my work, but it escapes me. Oh, well, it is quite a
journey. The first pot I ever made was on eBay last week and it was =3D
about as
ugly as anyone would see. It was from my first class learning coil =3D
building
back in 1947. I wouldn't mind having it just as part of my own =3D
collection of
very early pots to present day to show my growth. Sometimes those pots =3D
keep
one humble.=3D20
Bonnie Staffel
http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD=3DA0 Throwing with Coils and Slabs
DVD=3DA0 Introduction to Wheel Work
Charter Member Potters Council
Sandy miller on tue 20 apr 10
Eric,
It is ok with me.
It's all subjective.
Keep your head down, stay authentic to your own voice and keep making pots.
I relish my three years as an inner city police officer in need of a better
coffee cup
or I would have never touched clay.
That was 25 years ago and alot of slop down the ground hog hole........ and
yet he returns.
Many ideas are a product of life..........
sign me the dali mamma..........
Sandy Miller
www.sandymillerpottery.com
On Tue, Apr 20, 2010 at 4:13 PM, Eric Hansen
wrote:
> Sandy; And is that okay with you? I could speak more plainly by saying
> don't take the opinions of second rate artists too seriously. Find your o=
wn
> path. Anyone can get on a soapbox and spout inflammatory rhetoric against
> the arts world's status quo. For myself, and I'll say it again, I would h=
ave
> never discovered clay in the first place if it hadn't been for my 2 years=
at
> Kansas City Art Institute. It opened my mind to a lot of possibilities. A=
nd
> the 2 years at the University of Kansas. I even honor the affiliation in =
my
> email nic: kansaspotter. This idea that financial success is the only way
> that justifies the artists' work has been defended by Frank Gehry and Jul=
ian
> Schnabel, but their argument is incorrect. What if you choose not to like=
or
> agree with their work? They contend you don't have a right to your opinio=
n,
> that the almighty dollar speaks for itself. I wouldn't be working in clay=
at
> all if I believed that. Anti-intellectualism is rampant in the art world,=
OR
> is it stupidity that is rampant? Laugh that off. They like to think they =
are
> above critique. Nothing Tobin does informs me one way or another, Andy
> Goldsworthy or Martin Puyear or Tadashi Kawamata do better executed and m=
ore
> original work
> h a n s e n
>
> On Tue, Apr 20, 2010 at 1:30 PM, Sandy miller wrot=
e:
>
>> and I do believe Mr Tobin would laughing over all this.
>> He said it, it is done and I bet he is quite busy in his studio.........=
.
>>
>> Sandy Miller
>>
>> www.sandymillerpottery.com
>>
>>
>> On Mon, Apr 19, 2010 at 5:01 PM, Eric Hansen <
>> eric.hambone.hansen@gmail.com> wrote:
>>
>>> Kelly, all: Wish I could get a transcript of what Tobin said but from
>>> hearsay evidence, etc.: (& he isn't of the caliber of Andy Goldsworthy
>>> of
>>> Martin Puyear or Tadashi Kawamata) he does have a college degree in
>>> mathematics - and he doesn't list his full bio, I suspect that there he
>>> is
>>> fudging a little. We are all self-taught artists anyway. It is possible
>>> with
>>> large public installation projects to generate quite a bit of revenue. =
My
>>> brother is in this business, but without the ego issues that Tobin
>>> obviously
>>> suffers from. Tobin probably built his studio from sale of large
>>> sculpture.
>>> His work looks like a mathemetician pretending to dabble in art if you
>>> ask
>>> me. I can easily see his lack of training and study in areas like
>>> sculpture
>>> and/or painting. Still that doesn't really mean anything, if he likes i=
t
>>> &
>>> his customers like it & all is well what difference does it make? Inste=
ad
>>> of
>>> a bio he lists an inane essay comparing his work to DuChamp, others.
>>> Sorry,
>>> there is no DuChamp in Tobins work. The essay is drivel.
>>> h a n s e n
>>>
>>>
>>>
>>
>
Sandy miller on tue 20 apr 10
and I do believe Mr Tobin would laughing over all this.
He said it, it is done and I bet he is quite busy in his studio..........
Sandy Miller
www.sandymillerpottery.com
On Mon, Apr 19, 2010 at 5:01 PM, Eric Hansen
wrote:
> Kelly, all: Wish I could get a transcript of what Tobin said but from
> hearsay evidence, etc.: (& he isn't of the caliber of Andy Goldsworthy o=
f
> Martin Puyear or Tadashi Kawamata) he does have a college degree in
> mathematics - and he doesn't list his full bio, I suspect that there he i=
s
> fudging a little. We are all self-taught artists anyway. It is possible
> with
> large public installation projects to generate quite a bit of revenue. My
> brother is in this business, but without the ego issues that Tobin
> obviously
> suffers from. Tobin probably built his studio from sale of large sculptur=
e.
> His work looks like a mathemetician pretending to dabble in art if you as=
k
> me. I can easily see his lack of training and study in areas like sculptu=
re
> and/or painting. Still that doesn't really mean anything, if he likes it =
&
> his customers like it & all is well what difference does it make? Instead
> of
> a bio he lists an inane essay comparing his work to DuChamp, others. Sorr=
y,
> there is no DuChamp in Tobins work. The essay is drivel.
> h a n s e n
>
>
> On Mon, Apr 19, 2010 at 12:43 AM, Kelly Savino
> wrote:
>
> > It seems to me that the person who posted the art school ramt hadn't
> taken
> > a very serious sample of the offerings. My prof certainly focused on
> > throwing, and a lot of colleges do. If you're sitting in the wrong
> church,
> > you can't blame the choir for singing the wrong songs.
> >
> > It also seems to me that Tobin's anti-academic rant was as much a
> challenge
> > as a dismissal. It's true that I can't see any way -- even with the ris=
ks
> he
> > has taken and the long term planning -- that he started out on a
> shoestring
> > budget like mine, weighing groceries and braces for the kids against
> > supplies for the studio. So maybe he's a trust fund baby, or in some
> other
> > way got lucky in the birth lottery. I'd like to think so, because then =
I
> > could feel a little smug about being what he categorizes as a "sell out=
".
> >
> > Still, there was a glove thrown down there, and his remark had a grain =
of
> > truth in it. Before NCECA I had submitted my Clay Times column about ho=
w
> my
> > totally non-art-major non-ceramics community college students often hav=
e
> a
> > fresher, more creative approach to projects than the students at the
> guild
> > or in my private studio sessions. They don't copy each other or the
> latest
> > workshop guru, the cover of Ceramics Monthly or the pots of the potter
> next
> > to them. They don't make art about art so that only the smallest group =
of
> > initiated insiders can figure out what it's about. They don't get famou=
s
> for
> > one "look" or one pot or one gimmick and then repeat it for a decade to
> suit
> > public demand or their galleries, resisting growth or innovation becaus=
e
> > they already found a sweet spot.
> >
> > I used to think my little kids were so smart because they could look at
> my
> > mags with me and say "that's Boomer Moore! That's Rimas Visgirda! That'=
s
> > Linda Arbuckle!" But now the question kind of haunts me... if any of
> those
> > artists headed out on a whole new line of inquiry that nobody would
> > recognize as their signature work... what then? The potters whose work=
I
> > love, I hope will never stop making the stuff that rocks my world... th=
e
> > ones who don't light my fire, inspire me to roll my eyes and mumble, "t=
en
> > years later and you're still making that exact same pot?" Some I am su=
re
> > find enough interest and innovation in variations-on-a-theme to keep
> > growing. Some evolve while maintaining their identity, which looks like=
a
> > win-win to me. Lana Wilson's work, for example -- new functional stuff
> the
> > grandbabies can use, but still recognizably Lana.
> >
> > As a teacher, I have to say that I can damn well throw, and can teach
> > anyone with at least one arm how to throw, as well. (And teach them to
> see,
> > and think, and decide about what's worth throwing). And I have to secon=
d
> the
> > comment that if I had to make a living as an artist, where I live, I'd
> have
> > to make blue french butter dishes and art fair sure-bets in tedious
> > repetition (at least for my rabbit-chasing attention span) and I would
> have
> > little time to tread the creative paths of innovation and impracticalit=
y.
> >
> > I am glad I met Steve Tobin, because he operates on a different plane
> than
> > I do. Unless you look at your situation from the outside, you don't
> always
> > see where the boggy spots are, the clusters of ego and creative
> inbreeding,
> > the easy roads and the dead ends. It's a struggle to take in all the fi=
ne
> > art and fashion trend, novelty and concept, line and design of the
> ceramic
> > world and then not imitate -- not even in that
> > collage-of-this-from-here-and-that-from-there way. I can't honestly
> dismiss
> > the work of people I consider really "out there" with my usual mumble o=
f,
> > "yeah, I don't smoke that stuff anymore..." because innovation is hard =
to
> > come by, and imitation or the success of others is almost the default
> mode.
> > Likely it's how we evolved as a species.
> >
> > And Tobin's remarks put me on the defensive just enough to make me
> consider
> > the importance of what I do. I put the love of clay, and the skill to
> move
> > forward, into the hands of 40 or 50 people every year. Some find it a
> > therapeutic change of pace, a fun and distracting challenge. Some find =
it
> a
> > life changing experience. Sure, I may not be famous and there's no book
> > about me or million dollar commision waiting, but it's not just about M=
E,
> > either, and I'm good with that. We can change the world in small,
> unnoticed
> > and daily ways.. women have been doing it forever.
> >
> > Inch by inch, row by row
> >
> > Kelly in Ohio, where it's "as soon as soil can be worked" but weeks fro=
m
> > "last frost". Peas and onions in, tomatoes and eggplants waiting under
> the
> > shop lights...
> >
> >
> >
> >
> >
> > http://www.primalpotter.com (website)
> > http://primalmommy.wordpress.com (blog)
> > http://www.primalpotter.etsy.com (store)
> >
>
Eric Hansen on tue 20 apr 10
Sandy; And is that okay with you? I could speak more plainly by saying don'=
t
take the opinions of second rate artists too seriously. Find your own path.
Anyone can get on a soapbox and spout inflammatory rhetoric against the art=
s
world's status quo. For myself, and I'll say it again, I would have never
discovered clay in the first place if it hadn't been for my 2 years at
Kansas City Art Institute. It opened my mind to a lot of possibilities. And
the 2 years at the University of Kansas. I even honor the affiliation in my
email nic: kansaspotter. This idea that financial success is the only way
that justifies the artists' work has been defended by Frank Gehry and Julia=
n
Schnabel, but their argument is incorrect. What if you choose not to like o=
r
agree with their work? They contend you don't have a right to your opinion,
that the almighty dollar speaks for itself. I wouldn't be working in clay a=
t
all if I believed that. Anti-intellectualism is rampant in the art world, O=
R
is it stupidity that is rampant? Laugh that off. They like to think they ar=
e
above critique. Nothing Tobin does informs me one way or another, Andy
Goldsworthy or Martin Puyear or Tadashi Kawamata do better executed and mor=
e
original work
h a n s e n
On Tue, Apr 20, 2010 at 1:30 PM, Sandy miller wrote=
:
> and I do believe Mr Tobin would laughing over all this.
> He said it, it is done and I bet he is quite busy in his studio..........
>
> Sandy Miller
>
> www.sandymillerpottery.com
>
>
> On Mon, Apr 19, 2010 at 5:01 PM, Eric Hansen <
> eric.hambone.hansen@gmail.com> wrote:
>
>> Kelly, all: Wish I could get a transcript of what Tobin said but from
>> hearsay evidence, etc.: (& he isn't of the caliber of Andy Goldsworthy =
of
>> Martin Puyear or Tadashi Kawamata) he does have a college degree in
>> mathematics - and he doesn't list his full bio, I suspect that there he =
is
>> fudging a little. We are all self-taught artists anyway. It is possible
>> with
>> large public installation projects to generate quite a bit of revenue. M=
y
>> brother is in this business, but without the ego issues that Tobin
>> obviously
>> suffers from. Tobin probably built his studio from sale of large
>> sculpture.
>> His work looks like a mathemetician pretending to dabble in art if you a=
sk
>> me. I can easily see his lack of training and study in areas like
>> sculpture
>> and/or painting. Still that doesn't really mean anything, if he likes it=
&
>> his customers like it & all is well what difference does it make? Instea=
d
>> of
>> a bio he lists an inane essay comparing his work to DuChamp, others.
>> Sorry,
>> there is no DuChamp in Tobins work. The essay is drivel.
>> h a n s e n
>>
>>
>>
>
Eric Hansen on wed 21 apr 10
Dali Mamma: nice web site; especially like the strong glazes and surfaces &
how they counterpoint the hardline shapes and architectonic fetishes
h a n s e n
On Tue, Apr 20, 2010 at 5:06 PM, Sandy miller wrote=
:
> Eric,
> It is ok with me.
>
> It's all subjective.
> Keep your head down, stay authentic to your own voice and keep making pot=
s.
>
> I relish my three years as an inner city police officer in need of a bett=
er
> coffee cup
> or I would have never touched clay.
> That was 25 years ago and alot of slop down the ground hog hole........ a=
nd
> yet he returns.
>
> Many ideas are a product of life..........
>
> sign me the dali mamma..........
> Sandy Miller
>
> www.sandymillerpottery.com
>
>
> On Tue, Apr 20, 2010 at 4:13 PM, Eric Hansen <
> eric.hambone.hansen@gmail.com> wrote:
>
>> Sandy; And is that okay with you? I could speak more plainly by saying
>> don't take the opinions of second rate artists too seriously. Find your =
own
>> path. Anyone can get on a soapbox and spout inflammatory rhetoric agains=
t
>> the arts world's status quo. For myself, and I'll say it again, I would =
have
>> never discovered clay in the first place if it hadn't been for my 2 year=
s at
>> Kansas City Art Institute. It opened my mind to a lot of possibilities. =
And
>> the 2 years at the University of Kansas. I even honor the affiliation in=
my
>> email nic: kansaspotter. This idea that financial success is the only wa=
y
>> that justifies the artists' work has been defended by Frank Gehry and Ju=
lian
>> Schnabel, but their argument is incorrect. What if you choose not to lik=
e or
>> agree with their work? They contend you don't have a right to your opini=
on,
>> that the almighty dollar speaks for itself. I wouldn't be working in cla=
y at
>> all if I believed that. Anti-intellectualism is rampant in the art world=
, OR
>> is it stupidity that is rampant? Laugh that off. They like to think they=
are
>> above critique. Nothing Tobin does informs me one way or another, Andy
>> Goldsworthy or Martin Puyear or Tadashi Kawamata do better executed and =
more
>> original work
>> h a n s e n
>>
>
>
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