Elizabeth Priddy on wed 4 aug 10
Quality art is an expression of an individual that uses good base design an=
d then enhances or alters it with a personal point of view that will reach =
a broad base of viewers and draw them into the universal experience.
There is no reason to copy the past to do this. Our current experience is =
sufficient to make new art meaningful and relevant to the future.
We have access to modern ideas that were simply not part of the visual and =
expressive vernacular of the past and artists who use these elements are wh=
at people mean when they talk about current or relevant art.
The idea that there is nothing new under the sun is usually coming from som=
eone who doesn't like the modern age or who rejects change out of habit. I=
don't want to be that person. Exploiting modern materials and doing things=
in new ways is part of my experience as a modern person and so it will nat=
urally occur in my work as well.
I don't make shock art but I have never seen the unique combination of firi=
ng, color, and form that is essential to my work and I had to take 5 semest=
ers of history of art to get my degree.
There is plenty new under the sun, but it is up to you to make it. Instead=
of trotting out old ideas that have been fully explored already, adding no=
thing new of significance, and calling yourself a traditionalist, you have =
to risk failure to be an artist. That is the main difference between fine =
craft and art, fine craft is virtually fail-proof as it is essentially wor=
king from templates already proven. Art is new and a little dangerous if y=
ou are counting on paying the mortgage with it. But some people do not fee=
l whole when they do not make it, and that is a drive you cannot dismiss or=
diminish.
- ePriddy
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
Robert Harris on wed 4 aug 10
I think that part of the problem is a definition of what is "new". I
think that the people who claim there is nothing new mean that every
form, colour, and firing has been used (individually) and therefore is
not new. You are arguing that the particular combination of firing,
form and colour you use has never been used before and is therefore
"new".
To my mind both arguments are accurate and valid.
Personally I'm a "nothing is new" type of person, but that doesn't
mean that I don't think that my stuff is pretty unusual and unique
from a combination type of view.
http://www.etsy.com/shop_sold.php?user_id=3D3D7066262
See particularly my canisters and beakers. I haven't seen much like
them around (no doubt someone will point me to something EXACTLY the
same), but I would never claim to be making something new. I certainly
know what I evolved them from, and the degree to which it was
original, so even if I am re-inventing other peoples work, I'm still
happy.
Robert
On Wed, Aug 4, 2010 at 3:25 PM, Elizabeth Priddy wro=
=3D
te:
> Quality art is an expression of an individual that uses good base design =
=3D
and then enhances or alters it with a personal point of view that will reac=
=3D
h a broad base of viewers and draw them into the universal experience.
>
> There is no reason to copy the past to do this. =3DA0Our current experien=
ce=3D
is sufficient to make new art meaningful and relevant to the future.
>
> We have access to modern ideas that were simply not part of the visual an=
=3D
d expressive vernacular of the past and artists who use these elements are =
=3D
what people mean when they talk about current or relevant art.
>
> The idea that there is nothing new under the sun is usually coming from s=
=3D
omeone who doesn't like the modern age or who rejects change out of habit. =
=3D
=3DA0I don't want to be that person. Exploiting modern materials and doing =
th=3D
ings in new ways is part of my experience as a modern person and so it will=
=3D
naturally occur in my work as well.
>
> I don't make shock art but I have never seen the unique combination of fi=
=3D
ring, color, and form that is essential to my work and I had to take 5 seme=
=3D
sters of history of art to get my degree.
>
> There is plenty new under the sun, but it is up to you to make it. =3DA0I=
ns=3D
tead of trotting out old ideas that have been fully explored already, addin=
=3D
g nothing new of significance, and calling yourself a traditionalist, you h=
=3D
ave to risk failure to be an artist. =3DA0That is the main difference betwe=
en=3D
fine craft and art, =3DA0fine craft is virtually fail-proof as it is essen=
ti=3D
ally working from templates already proven. =3DA0Art is new and a little da=
ng=3D
erous if you are counting on paying the mortgage with it. =3DA0But some peo=
pl=3D
e do not feel whole when they do not make it, and that is a drive you canno=
=3D
t dismiss or diminish.
>
>
>
> - ePriddy
>
> Elizabeth Priddy
> Beaufort, NC - USA
>
> http://www.elizabethpriddy.com
>
--=3D20
----------------------------------------------------------
Lee Love on wed 4 aug 10
Robert, I agree. You and I stand stand exactly between the
beginingless past, and the endless future.
--
=3DA0Lee, a Mashiko potter in Minneapolis
http://mingeisota.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
James Freeman on thu 5 aug 10
On Wed, Aug 4, 2010 at 3:25 PM, Elizabeth Priddy wro=
=3D
te:
>
> The idea that there is nothing new under the sun is usually coming from s=
=3D
omeone who doesn't like the modern age or who rejects change out of habit. =
=3D
I don't want to be that person. Exploiting modern materials and doing thin=
=3D
gs in new ways is part of my experience as a modern person and so it will n=
=3D
aturally occur in my work as well.
>
Elizabeth...
I can't speak for others, but my ideas, which are firmly in the
"nothing new" camp, do not stem from such positions at all. I, like
you (if I understood you correctly), tend to view copying from the
past as largely an academic exercise, a mere jumping off point. The
great Rabbi Maimonides said that "Tradition without reason is simply
the repetition of an ancient mistake." Neither am I someone who
dislikes the modern age or rejects change (so long as such change
represents an improvement over the status quo).
My ideas flow from a more post hoc position, and I am talking about
those items which we, at the time, believe to be quite new and quite
original. It is precisely such new, unique, original ideas that often
seem to turn out to have very close historical or contemporaneous
precedent, even if we were quite unaware of them at the time. Yes, we
independently reached a discovery. But someone else, due if nothing
else to the law of large numbers, reached that same independent
discovery, before us or contemporaneously, and someone else will
independently discover it again after us. I believe this is what the
others are saying too, but do not want to put words into anyone's
mouth.
All the best.
...James
James Freeman
"All I say is by way of discourse, and nothing by way of advice.=3DA0 I
should not speak so boldly if it were my due to be believed."
-Michel de Montaigne
http://www.jamesfreemanstudio.com
http://www.flickr.com/photos/jamesfreemanstudio/
http://www.jamesfreemanstudio.com/resources
Elizabeth Priddy on thu 5 aug 10
So, you're basically saying that everything we come up with as individuals =
=3D
has been come up with with contemporaneously or in the past and that our aw=
=3D
areness of the existing works is the missing link in our feeling that we ha=
=3D
ve come up with something new.=3D0A=3D0AI can see that and agree that it ha=
ppen=3D
s all the time.=3D0A=3D0ABut the logic fails for people like me who are ver=
y in=3D
terested in new technology and who do our own research with modern material=
=3D
s. I am actually generating new stuff that the sun has never seen because =
=3D
the stuff I am using did not exist in the past. A lot of what I am doing i=
=3D
s rooted in the past, chinese brushpainting techniques are roughly 4000 yrs=
=3D
old. But the new pigment technology that lets me do it on high fired ston=
=3D
eware move it from the realm of china painting into a new era. And the wor=
=3D
k is actually new as a holistic process and product. And that excites me.=
=3D
=3D0A=3D0AThere is something satisfying in making things the old way and wi=
th t=3D
he old stuff. That is why I wood fie with only salt for glaze. It is like=
=3D
a time machine to do that. And if that is all I did, I would not say it i=
=3D
s new. But I don't just do that, as I am complex and really love innovatio=
=3D
n.=3D0A=3D0ASo while I see your logic, it fails when people push the envelo=
pe a=3D
nd use things that never existed in the past. De facto, things made with n=
=3D
ew stuff are new.=3D0A=3D0AThe people who rediscover the things I discover =
and =3D
use will in fact be just copying me! But if I get there first and do uniqu=
=3D
e work with it, which I have, it is new and if I sit it out in the yard, it=
=3D
is new under the sun...=3D0A=3D0AI have researched asian and western art t=
o fi=3D
nd my motif on loose slab tile work and if somebody has pictures of work l=
=3D
ike that done prior to 1992, please send them to me as I would like to see =
=3D
it. =3D0A=3D0AA lot of what I do and have done is traditional, but some sma=
ll s=3D
egment, the part I am most proud of, is new.=3D0A=3D0A- ePriddy=3D0A=3D0AEl=
izabeth =3D
Priddy=3D0ABeaufort, NC - USA=3D0A=3D0Ahttp://www.elizabethpriddy.com=3D0A=
=3D0A=3D0A---=3D
On Thu, 8/5/10, James Freeman wrote:=3D0A=
=3D0A>=3D
From: James Freeman =3D0A> Subject: Re: why =
ma=3D
ke art and can anything be "new"=3D0A> To: Clayart@LSV.CERAMICS.ORG=3D0A> D=
ate:=3D
Thursday, August 5, 2010, 10:03 AM=3D0A> On Wed, Aug 4, 2010 at 3:25 PM,=
=3D0A>=3D
Elizabeth Priddy =3D0A> wrote:=3D0A> >=3D0A> > The i=
dea th=3D
at there is nothing new under the sun is=3D0A> usually coming from someone =
wh=3D
o doesn't like the modern age=3D0A> or who rejects change out of habit.=3DA=
0 I =3D
don't want to be=3D0A> that person. Exploiting modern materials and doing t=
hi=3D
ngs in=3D0A> new ways is part of my experience as a modern person and so=3D=
0A> =3D
it will naturally occur in my work as well.=3D0A> >=3D0A> =3D0A> =3D0A> =3D=
0A> Elizab=3D
eth...=3D0A> =3D0A> I can't speak for others, but my ideas, which are firml=
y in=3D
=3D0A> the=3D0A> "nothing new" camp, do not stem from such positions at=3D0=
A> all=3D
.=3DA0 I, like=3D0A> you (if I understood you correctly), tend to view copy=
ing=3D
=3D0A> from the=3D0A> past as largely an academic exercise, a mere jumping =
off=3D
=3D0A> point.=3DA0 The=3D0A> great Rabbi Maimonides said that "Tradition wi=
thout =3D
reason=3D0A> is simply=3D0A> the repetition of an ancient mistake."=3DA0 Ne=
ither =3D
am I=3D0A> someone who=3D0A> dislikes the modern age or rejects change (so =
long=3D
as such=3D0A> change=3D0A> represents an improvement over the status quo).=
=3D0A>=3D
=3D0A> My ideas flow from a more post hoc position, and I am=3D0A> talking=
abo=3D
ut=3D0A> those items which we, at the time, believe to be quite new=3D0A> a=
nd q=3D
uite=3D0A> original.=3DA0 It is precisely such new, unique, original=3D0A> =
ideas =3D
that often=3D0A> seem to turn out to have very close historical or=3D0A> co=
ntem=3D
poraneous=3D0A> precedent, even if we were quite unaware of them at the=3D0=
A> t=3D
ime.=3DA0 Yes, we=3D0A> independently reached a discovery.=3DA0 But someone=
else,=3D
=3D0A> due if nothing=3D0A> else to the law of large numbers, reached that =
same=3D
=3D0A> independent=3D0A> discovery, before us or contemporaneously, and som=
eone=3D
else=3D0A> will=3D0A> independently discover it again after us.=3DA0 I bel=
ieve=3D
=3D0A> this is what the=3D0A> others are saying too, but do not want to put=
wor=3D
ds into=3D0A> anyone's=3D0A> mouth.=3D0A> =3D0A> All the best.=3D0A> =3D0A>=
...James=3D0A=3D
> =3D0A> James Freeman=3D0A=3D0A=3D0A
Lee Love on thu 5 aug 10
On Thu, Aug 5, 2010 at 9:03 AM, James Freeman
wrote:
> On Wed, Aug 4, 2010 at 3:25 PM, Elizabeth Priddy w=
=3D
rote:
>>
>> The idea that there is nothing new under the sun is usually coming from =
=3D
someone who doesn't like the modern age or who rejects change out of habit.
> Elizabeth...
>
> I can't speak for others, but my ideas, which are firmly in the
> "nothing new" camp, do not stem from such positions at all.
Me neither. For me, it comes from the realization that we live
in a society that has little respect for "the shoulder of giants we
stand upon." We make many mistakes because of our lack of interest
and respect for the past.
Hamada once said, that we have to completely digest a
tradition. That is a key part. Because we don't respect or know the
past, we can't "completely digest" it. "Then, we make something
new."
I also like Mark Hewitt's statement. He explains, to be a
part of a tradition does not mean your work is frozen in making
historic work. He says in a living tradition, you are interpreting
the tradition to be relevant to the community you live in. That is
what keeps you from making cliche's and knick nacks.
This approach threatens a post-modern, relativistic mindset.
--
=3DA0Lee, a Mashiko potter in Minneapolis
http://mingeisota.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
David Woof on fri 6 aug 10
Lee wrote:
Woof says: Hmmmm=3D2C..........what are you guys going to do in that ever f=
le=3D
eting neeext to neither space? Will you continue to replicate overworked =
=3D
forms and spew profundities gleaned from wikipedia sites quoting long dead =
=3D
"masters" while engaging in group mental masturbations of sophomoric pseudo=
=3D
-intellectual largely irrational suppositional ramblings in never to be set=
=3D
tled disputes over how to define art vs craft in a way satisfactory to ever=
=3D
yone=3D2C anyone=3D2C everywhere and for all time?=3D20
=3D20
Best regards=3D2C
David Woof.....Wandering=3D2C working=3D2C and wondering with playful purpo=
se i=3D
n Clarkdale=3D2C Arizona
=3D20
Now=3D2C already=3D2C today! I feel "compelled" to see if I can "call" a pi=
ece =3D
into being (gosh is Sedona rubbing off?)... (please notice tongue seeking a=
=3D
resting place in cheek) for a local show with the theme=3D3B "It Just Happ=
en=3D
ed this Way". =3D20
=3D20
The gallery management team says they are getting fits from many Clarkdale =
=3D
"artists" who have forgotten how good it feels to break free of the safe an=
=3D
d established formulas of derivative art and play barefoot and nude....bare=
=3D
foot and flirting with failure. Getting nude with one's muse!!! What a=
=3D
day this could be!!! Blessing or Malediction??? Will She/He bring frien=
=3D
ds? Will we all go to jail or become fleetingly famous??? Days end will t=
=3D
ell and the piece will arrive for tomorrow's opening no doubt smelling of w=
=3D
et clay=3D2C paint=3D2C and only the muse knows this AM what other metaphor=
ic o=3D
dors=3D2C materials and visions may yet manifest. =3D20
=3D20
Not answering my phone=3D2C checking my calendar or putting on my pantaloon=
es=3D
today!!!! (well maybe dig up a pair of wing tips and a tie) The distrac=
=3D
ting cactus spines and goats heads make bare feet questionably optional for=
=3D
most activities and occasions. It's a knarly land=3D3B this Arizona!!!=
=3D
Feeling fit and lucky? Come get some!!!=3D20
______________________________________________________
=3D20
3.1. Re: why make art and can anything be "new"
Posted by: "Lee Love" cwiddershins@GMAIL.COM=3D20
Date: Wed Aug 4=3D2C 2010 4:10 pm ((PDT))
Robert=3D2C I agree. You and I stand stand exactly between the
beginingless past=3D2C and the endless future.
=3D20
=3D20
=3D
Snail Scott on fri 6 aug 10
I offer T.S. Eliot's words here:
Tradition...cannot be inherited, and if you want
it, you must obtain it by great labour. It involves,
in the first place, the historical sense...and the
historical sense involves perception, not of the
pastness of the past, but of its presence. This
historical sense...[is] what makes a writer most
acutely conscious of his place in time, of his
own contemporaneity.
-Snail
Snail Scott on fri 6 aug 10
On Aug 5, 2010, at 2:11 PM, Lee Love wrote:
> ...we live
> in a society that has little respect for "the shoulder of giants we
> stand upon." ...
Speaking of which, this is the theme of the next
Potters Council exhibition, at the upcoming NCECA
in Tampa, FL. There's still time to enter!
-Snail
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