gary navarre on wed 4 may 11
Michael,=3D0A=3D0A Sounds like another one of those conceptual pieces I als=
o va=3D
guely recall. Hows about making some blocks of unfired clay and setting the=
=3D
m out on the window ledge or various locations exposed to the weather for a=
=3D
similar effect?=3D0A=3D0AGary Navarre=3D0ANavarre Pottery=3D0ANavarre Ente=
rprises=3D
=3D0ANorway, Michigan, USA=3D0Ahttp://www.NavarrePottery.etsy.com=3D0Ahttp:=
//www.=3D
youtube.com/GindaUP=3D0Ahttp://public.fotki.com/GindaUP/=3D0A=3D0A=3D0A--- =
On Wed, =3D
5/4/11, Michael Flaherty wrote:=3D0A=3D0A=
> Fr=3D
om: Michael Flaherty =3D0A> Subject: [Clay=
ar=3D
t] Help identifying an art piece=3D0A> To: Clayart@LSV.CERAMICS.ORG=3D0A> D=
ate:=3D
Wednesday, May 4, 2011, 2:49 PM=3D0A> Here's a question I'm not sure=3D0A>=
whe=3D
ther there's an answer for:=3D0A> =3D0A> I remember seeing, or think i reme=
mber=3D
seeing, many years=3D0A> ago images of an=3D0A> art piece where large squa=
re b=3D
locks of unfired clay were=3D0A> left on a beach to=3D0A> be disintegrated =
by t=3D
he ocean.=3DA0 Does anyone know what=3D0A> I'm talking about?=3DA0 Or=3D0A>=
who mig=3D
ht've made the piece?=3DA0 Or am I just making this=3D0A> all up?=3DA0 20 m=
inutes=3D
=3D0A> googling have revealed nothing.=3DA0 I'm doing a project=3D0A> about=
entro=3D
py with my=3D0A> class in a couple weeks and I'd like to show them that=3D0=
A> p=3D
iece, if I can find it.=3D0A> =3D0A> Thanks!=3D0A>
Michael Flaherty on wed 4 may 11
Here's a question I'm not sure whether there's an answer for:
I remember seeing, or think i remember seeing, many years ago images of a=
=3D
n
art piece where large square blocks of unfired clay were left on a beach =
=3D
to
be disintegrated by the ocean. Does anyone know what I'm talking about? =
=3D
Or
who might've made the piece? Or am I just making this all up? 20 minute=
=3D
s
googling have revealed nothing. I'm doing a project about entropy with m=
=3D
y
class in a couple weeks and I'd like to show them that piece, if I can fi=
=3D
nd it.
Thanks!
Marcia Selsor on wed 4 may 11
I remember it. I think it was on the cover of Ceramics Monthly maybe =3D
back in the early 90s or late 80s?
Marcia
On May 4, 2011, at 2:49 PM, Michael Flaherty wrote:
> Here's a question I'm not sure whether there's an answer for:
>=3D20
> I remember seeing, or think i remember seeing, many years ago images =3D
of an
> art piece where large square blocks of unfired clay were left on a =3D
beach to
> be disintegrated by the ocean. Does anyone know what I'm talking =3D
about? Or
> who might've made the piece? Or am I just making this all up? 20 =3D
minutes
> googling have revealed nothing. I'm doing a project about entropy =3D
with my
> class in a couple weeks and I'd like to show them that piece, if I can =
=3D
find it.
>=3D20
> Thanks!
>=3D20
Marcia Selsor
http://www.marciaselsor.com
http://ceramicartsdaily.org/potters-council/ceramics-in-tuscany/
Pam Cresswell on thu 5 may 11
sounds like something by Goldsworthy
Randall Moody on thu 5 may 11
I think I remember seeing that in Peterson's "The Craft and Art of Clay". I
can't seem to locate my copy and it has been several years since I cracked
that book. I believe that it was a B&W photo of the clay slabs suspended
from what looked to be 4x4's at the surf's edge. I don't think that it was =
a
large picture and can't remember the name of the artist. For some reason I
can remember pictures and things visually but rarely text.
On Wed, May 4, 2011 at 3:49 PM, Michael Flaherty <
ceramicfundamentalist@yahoo.com> wrote:
> Here's a question I'm not sure whether there's an answer for:
>
> I remember seeing, or think i remember seeing, many years ago images of a=
n
> art piece where large square blocks of unfired clay were left on a beach =
to
> be disintegrated by the ocean. Does anyone know what I'm talking about?
> Or
> who might've made the piece? Or am I just making this all up? 20 minute=
s
> googling have revealed nothing. I'm doing a project about entropy with m=
y
> class in a couple weeks and I'd like to show them that piece, if I can fi=
nd
> it.
>
> Thanks!
>
--
Randall in Atlanta
http://wrandallmoody.com
Marcia Selsor on thu 5 may 11
I think it predates Goldsworthy although the interplay with nature does =3D
exist similarly.
Marcia
On May 5, 2011, at 7:22 AM, Pam Cresswell wrote:
> sounds like something by Goldsworthy
>=3D20
Marcia Selsor
http://www.marciaselsor.com
http://ceramicartsdaily.org/potters-council/ceramics-in-tuscany/
Kenneth Eric Adams on thu 5 may 11
>
> This piece was featured in an older version of Susan Petersons *The Art
> and Craft of Clay.*
> *
> *
> *Its a piece called Surface Erosion by George Geyer and Tom McMillian.*
> *
> *
> *http://georgegeyer.com/surfline_erosion.html
> *
>
> On Thu, May 5, 2011 at 8:22 AM, Pam Cresswell wrote:
>
>> sounds like something by Goldsworthy
>>
>
>
Vince Pitelka on thu 5 may 11
Thanks to Kenneth Eric Adams for providing this link to the pieces in
question:
http://georgegeyer.com/surfline_erosion.html,
When I heard this installation described in the initial Clayart post it
seemed vaguely familiar, and then when Kenneth posted the web link and I sa=
w
the images it all came back to me. When the article appeared in Ceramics
Monthly I thought the pieces were completely pointless, not on the basis of
general philosophy, but because I just didn't think they were very well
constructed to do what they were supposed to do. Of course the waves
destroyed them over time, but I think it would have been so much more
interesting and effective if they had been huge solid blocks of dry clay
just planted on the beach, minus the wood frames. Today I don't think such
a thing would be allowed, but it could certainly be interesting to watch
over time.
I have always loved the visual of dry clay slaking in water, and for anyone
interested in trying it, I think that an effective demonstration would be
large disks or thick platters standing vertically in a large fish tank of
water. If the disks or platters were put in place very gently, it would be
possible to avoid agitating the water, leaving it relatively clear as clay
slaked off and settled to the bottom. I really have no idea if it would ge=
t
so cloudy over time as to disrupt the visual, but it won't become evident
until this is tried.
My favorite visual of the effect of water on dry clay on a massive scale is
an amazing permanent and ongoing installation called the Badlands, seen in
the western Dakotas and other states along the Great Plains, where there ar=
e
vast deposits of clay in layers amidst other layers of shale, coal,
sandstone, etc. In Theodore Roosevelt National Park in North Dakota, there
are thick beds of bentonite among those layers, deposited as volcanic ash
during the Laramide Orogeny. As you all know, bentonite has the finest
particle size of any clay, and thus when it is wetted and takes on water
layers between all the particles it expands enormously. In the Badlands,
wherever a bentonite bed is exposed on a cliff face, when it is
significantly wetted by summer thunderstorms it expands outward from the
surface and bentonite sloughs off down the cliff. When it dries it
retracts, leaving the layers above unsupported, adding to the erosion of th=
e
cliff face. On more gentle slopes it just bulges out in huge blue-gray
masses that are amazing to see but can be incredibly treacherous to step on
if you are unprepared. As they begin to dry, the surface cracks and forms
the famous "popcorn bentonite" because it does in fact look just like
popcorn. But at that stage it is still wet underneath, and you might as
well be stepping on a thick layer of grease, because your feet will fly out
from under you before you know what happened. If this is on a steep slope,
the results could be very unfortunate. While serving my three years among
"god's frozen people," I enjoyed a lot of camping and hiking out in the
Badlands, because it reminded me of the "real" topography of the West. I
learned to be very wary of those bentonite slopes, but my goodness they wer=
e
beautiful to see. The Badlands are full of wonderful and sometimes
dangerous surprises. How about burning coal veins? There's a fascinating
geological oddity for you.
But I digress . . .
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net; wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka
Michael Flaherty on thu 5 may 11
thanks everyone, i found it. it's actually called "Surf Line Erosion" an=
=3D
d you can=3D20
see pics of it here: http://georgegeyer.com/surfline_erosion.html
Steve Mills on thu 5 may 11
It was in CM a loooooooong time ago, I think on the cover.=3D20
Ask them!
Steve M
Steve Mills
Bath
UK
www.mudslinger.me.uk
Sent from my Ipod touch
On 4 May 2011, at 20:49, Michael Flaherty =
w=3D
rote:
> Here's a question I'm not sure whether there's an answer for:
>=3D20
> I remember seeing, or think i remember seeing, many years ago images of a=
n=3D
> art piece where large square blocks of unfired clay were left on a beach =
t=3D
o
> be disintegrated by the ocean. Does anyone know what I'm talking about? =
O=3D
r
> who might've made the piece? Or am I just making this all up? 20 minute=
s=3D
> googling have revealed nothing. I'm doing a project about entropy with m=
y=3D
> class in a couple weeks and I'd like to show them that piece, if I can fi=
n=3D
d it.
>=3D20
> Thanks!
pdp1 on thu 5 may 11
Hi Vince, anyone, everyone, all, and whomever else,
What it is that annoye me sop much about so many things done in the name of
'Art'?
Clearly, a once a society has lost reason and purpose, at all 'levels', onc=
e
it is decaying
into inward spiralling neurotic parallax and autophagia in it's own
artificially lit
House-of-Mirrors, and
has run out of options for having anything earnest or substantial or
wholesomely meaningful to do or to interface with, or to have any such
interests about even if such
were there to be done, it's members can and will find substitues, and
celebrate the substitutes, and
become the substitues, personifed.
This of course invites encouragement for and of their peers, the grudging
smarms of approval
from their betters or employers, and the admiration from below, of their
lessers at or
aspirants to, the
calling...who wish they too could one day receive such attentions and
admires for doing so little, and doing it so crudely.
Let me see if I can tune in to the 'dialogue' I am suposed to have with the
'art' here on this...let me see if I can find my place in being audience to
the 'narrative'...
Hmmmm ( presses Temples, squints hard, bows Head slightly, rocking softly i=
n
my Chair...neck chords straining,
veins welling on forehead...r-e-a-l-l-y making an effort, and...)
Ah Hah!
It is an amalogue of sorts, for what is become of Art! Or moreso, of any
mentality for there to be a context or
perspectuity in which to judge it! Or to even care!
The proxy-victims or effigies, tied to a Board, passive, obliging, long
since molded into being the 'squares' they are, regimented into evenly
spaced 'row', bounded by the frames into
which they are set...set up as if to be Shot at Dawn, but, in this
case, it is a remourseless exposure to something else, The Great Jungian
'Waters' and their hissing seethes ( and the haunting cries of the Gulls
also I s'pose ), which shall un-do
them, and, leave a modest mess, while it was at it.
An erosion arranged as an assisted suicide in effigy, for someone else, (
the fate of the students, perhaps, once these guys are done with them, ) an=
d
guided by the very petty impostors and their service to the
enabling jargon, who so wish to manage others in vanity and as incidental t=
o
their own remourceless exploitation of the shams and
rackets of tenure, and for
profit in thismost of all banal sense...and, I s'pose, for getting a few
hasty
faux-finish particleboard Desk steadied blowies by zoftig, painfully
insecure, impressionable, 20-something cringers who have eating disorders,
being mentored after class.
Is this my 'dialogue' with the piece then?
Have I finally got it?
Did I 'tune in' correctly?
Am I 'resonating' now?
Or shall I return to sitting in on a few university 'art' classes to see if
anything has changed?
Oye...
Love,
Lol...
Phil
L v
----- Original Message -----
From: "Vince Pitelka"
> Thanks to Kenneth Eric Adams for providing this link to the pieces in
> question:
> http://georgegeyer.com/surfline_erosion.html,
>
> When I heard this installation described in the initial Clayart post it
> seemed vaguely familiar, and then when Kenneth posted the web link and I
> saw
> the images it all came back to me. When the article appeared in Ceramics
> Monthly I thought the pieces were completely pointless, not on the basis
> of
> general philosophy, but because I just didn't think they were very well
> constructed to do what they were supposed to do. Of course the waves
> destroyed them over time, but I think it would have been so much more
> interesting and effective if they had been huge solid blocks of dry clay
> just planted on the beach, minus the wood frames. Today I don't think
> such
> a thing would be allowed, but it could certainly be interesting to watch
> over time.
Good Mentions Vince...though I snipped them here for brevity and archive
sake...
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