plasterjfl@AOL.COM on sat 17 mar 12
I think the context of the above sentiment is really dependent upon your
locality.
Mel and I live in Minneapolis. (As does Lee.)
The Minneapolis/Minnesota clay community developed a foundation as a
result of a passionate teacher at the University of Minnesota, Warren Macke=
nzie.
As he is retired that influence has diminished.
As Warren's students graduated and matured they became both makers of pots
and buyers of pots. (My high school ceramics teacher, for instance, was a
student.)
Their kids, however, not having a passionate teacher like Warren, have not
developed the same love for wood fired wheel thrown pottery. (Some have, of
course, but most haven't.)
Now that the marketplace is so much more crowded young consumers do not
necessarily see wood fired work as "more authentic" as their parents did.
The flip side of Warren's influence is that, for awhile, there were tons of
wheel throwing potters at any given craft related event. Some of these
potters were very good but many were not.
When the ACC came to town, in 1987, that threw a wrench in the system.
Craft galleries, of which there were many, abandoned local potters. (In fav=
or
of "national" potters.)
As the national pool of potters showed a greater diversity of styles the
look of galleries changed as well.
(Round and brown went away in favor of more colorful work.)
Once the economic downturn of the early 90's hit, the galleries, which were
part of the "luxury goods" category, took a hit with it.
Outside of the Northern Clay Center, and a few other "centers" in the area,
the Minnesota craft scene hasn't been the same since.
take care
Jeff Longtin
Minneapolis
_www.jefflongtin.etsy.com_ (http://www.jefflongtin.etsy.com)
Lee on sat 17 mar 12
On Sat, Mar 17, 2012 at 7:49 PM, wrote:
> When the ACC came to town, in 1987, that threw a wrench in the system.
> Craft galleries, of which there were many, abandoned local potters. (In f=
=3D
avor
> of =3DA0"national" potters.)
The ACC is pretty irrellevant. Mostly for wholesalers.
>
> As the national pool of potters showed a greater diversity of styles =3DA=
0t=3D
he
> look of galleries changed as well.
There has always been diverse work here.
>
> (Round and brown went away in favor of more colorful work.)
"Round and Brown* is a cliche and never fit all pots in
Minnesota and Wisconsin. Many potters like altering pots, even
MacKenzie, followed by his best students. And Brown does not
dominate, especially in woodfire.
>
> Once the economic downturn of the early 90's hit, the galleries, which we=
=3D
re
> =3DA0part of the "luxury goods" category, took a hit with it.
It really depends upon your mindset and the pots you make.
What Tony calls "mantle" pots took the biggest hit. Everyday pots,
less so.
> Outside of the Northern Clay Center, and a few other "centers" in the are=
=3D
a,
> =3DA0the Minnesota craft scene hasn't been the same since.
The Grandhand is another important gallery. As are a half dozen art
fairs. The Raymond Ave. Gallery is always showing ceramic work.
So does the WIseman and other school galleries. I've been a
jurying member of the Artists Circle that organizes Art at Saint
Kate's, Art at Ramsey and Art At Highland.
Potters are subjected to the same economic variables as the rest of
the population. It has become more difficult for potters in Japan,
year by year, since the burst of the economic bubble at the end of the
'80s. THAT, is what makes it difficult for up and coming potters
in both countries.
--
=3DA0Lee Love in Minneapolis
http://mingeisota.blogspot.com/
=3DA0"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D9=
7that is, =3D
"The
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue
plasterjfl@AOL.COM on sat 17 mar 12
Hey Lee,
I completely appreciate your advocacy. You are right. Those are very good
galleries/shows.
However, if we were having this discussion, in the 80's, your list would be
three times longer.
Which is not to suggest anyone should abandon their true passion. (Wood
firing or otherwise.)
Rather, it's to suggest that it's more important than ever to understand
your market and realize you will also need to be creative in the marketplac=
e,
as well as in the studio, if you want to support yourself as a potter.
take care
Jeff Longtin
Minneapolis
_www.jefflongtin.etsy.com_ (http://www.jefflongtin.etsy.com)
Elisabeth Maurland on sat 17 mar 12
ACC is mostly retail now. The only ACC show left that has wholesale =3D
days is Baltimore. I do the ACC St. Paul show every year, and it's =3D
great. I don't do wholesale at all. People in St. Paul are knowledgeable =
=3D
about pottery, and I always do well there.
Elisabeth=3D20
www.elisabethmaurland.com
On Mar 17, 2012, at 7:07 AM, Lee wrote:
> On Sat, Mar 17, 2012 at 7:49 PM, wrote:
>> When the ACC came to town, in 1987, that threw a wrench in the =3D
system.
>> Craft galleries, of which there were many, abandoned local potters. =3D
(In favor
>> of "national" potters.)
>=3D20
> The ACC is pretty irrellevant. Mostly for wholesalers.
>>=3D20
plasterjfl@AOL.COM on sat 17 mar 12
Hey Elisabeth,
I was going to say as much, in response to Lee, but thought I would leave
it alone.
I think the idea that the ACC is "wholesale and irrelevant" is a tad
outdated. Certainly a hierarchy seemed to exist in the 80's and 90's but I =
think
that's mostly gone now. (As one gallery owner told me, "You go to ACC for
show pieces, you go to Rosen for the stuff that sells.")
I think at this point no one can afford to be picky. We all need to be
talking to each other.
The ACC moved it's offices just down the street from my studio. I pass them
on my way home. I've stopped in and introduced myself. They sponsored a
show at the Minneapolis Institute of Art, recently, so I think they're try=
ing
to make they're presence felt. I applaud that.
take care
Jeff Longtin
Minneapolis
_www.jefflongtin.etsy.com_ (http://www.jefflongtin.etsy.com)
John Baymore on sun 18 mar 12
"Potters are subjected to the same economic variables as the rest of
the population. It has become more difficult for potters in Japan,
year by year, since the burst of the economic bubble at the end of the
'80s. THAT, is what makes it difficult for up and coming potters
in both countries."
Very well said there, Lee. Cuts to the chase. Those that are skilled at t=
=3D
he craft and who are willing to work hard will likely persevere.
best,
..................john
Date: Sat, 17 Mar 2012 21:07:21 +0900
rom: Lee
ubject: Re: Out of favor - the Minnesota scene
On Sat, Mar 17, 2012 at 7:49 PM, wrote:
When the ACC came to town, in 1987, that threw a wrench in the system.
Craft galleries, of which there were many, abandoned local potters. (In f=
=3D
=3D3D
vor
of =3D3DA0"national" potters.)
The ACC is pretty irrellevant. Mostly for wholesalers.
As the national pool of potters showed a greater diversity of styles =3D3D=
A0=3D
t=3D3D
e
look of galleries changed as well.
There has always been diverse work here.
(Round and brown went away in favor of more colorful work.)
"Round and Brown* is a cliche and never fit all pots in
innesota and Wisconsin. Many potters like altering pots, even
acKenzie, followed by his best students. And Brown does not
ominate, especially in woodfire.
>
Once the economic downturn of the early 90's hit, the galleries, which we=
=3D
=3D3D
e
=3D3DA0part of the "luxury goods" category, took a hit with it.
It really depends upon your mindset and the pots you make.
hat Tony calls "mantle" pots took the biggest hit. Everyday pots,
ess so.
> Outside of the Northern Clay Center, and a few other "centers" in the are=
=3D
=3D3D
,
=3D3DA0the Minnesota craft scene hasn't been the same since.
The Grandhand is another important gallery. As are a half dozen art
airs. The Raymond Ave. Gallery is always showing ceramic work.
o does the WIseman and other school galleries. I've been a
urying member of the Artists Circle that organizes Art at Saint
ate's, Art at Ramsey and Art At Highland.
Potters are subjected to the same economic variables as the rest of
he population. It has become more difficult for potters in Japan,
ear by year, since the burst of the economic bubble at the end of the
80s. THAT, is what makes it difficult for up and coming potters
n both countries.
--
A0Lee Love in Minneapolis
ttp://mingeisota.blogspot.com/
John Baymore
=3DE3=3D82=3DB8=3DE3=3D83=3DA7=3DE3=3D83=3DB3=3DE3=3D80=3D80=3DE3=3D83=3D99=
=3DE3=3D83=3DBC=3DE3=3D83=3DA2=3DE3=3D82=3DA2=3D20
=3D20
adjunct professor of ceramics
=3DE7=3DBE=3D8E=3DE8=3DA1=3D93=3DE9=3D99=3DB6=3DE5=3D99=3DA8=3DE3=3D81=3DAE=
=3DE9=3D9D=3D9E=3DE5=3DB8=3DB8=3DE5=3D8B=3DA4=3DE6=3D
=3D95=3D99=3DE6=3D8E=3D88
=3D20
New Hampshire Institute of Art
=3D20
President; Potters Council of the American Ceramic Society
=3D20
River Bend Pottery
Wilton, NH USA
=3D20
http://www.JohnBaymore.com
http://www.nhia.edu/new-facultypage-5/
David Woof on thu 5 apr 12
Hi Jeff=3D2C all=3D2C=3D20
=3D20
I believe and work to act as if the next generation is always in our hands=
=3D
=3D2C and that it is our collective responsibility to pass on our passion f=
or=3D
the craft in what ever form=3D2C technique=3D2C and firing method we perso=
nall=3D
y hold dear.=3D20
=3D20
***So lets haul ourselves and a wheel down to the local elementary school o=
=3D
r "hokey" (in some folks ivory opinion) community art event and turn the ki=
=3D
ds and their folks on.***=3D20
=3D20
Add a few more admiring customers=3D2C or just do it because it is the righ=
t =3D
good thing to do=3D2C and secure the next generation.=3D20
Incite or inflict upon them our passion. It is an affliction and contagious=
=3D
=3D2C but oh so good when one surrenders to it. It will change some kid's l=
if=3D
e!!!
=3D20
Us "everyday folks" even in small ways within our means=3D2C have an abunda=
nc=3D
e of power for good at our disposal if we wish to step up to the line in th=
=3D
e sand and act.=3D20
=3D20
This is not the responsibility of that mythical "somebody else" or regional=
=3D
art center=3D2C government=3D2C or academic institution=3D3B but it falls =
on the=3D
community of which we are (like it or not) a part of and we bear a respons=
=3D
ibility.
=3D20
Poets and holy writings speak of the masses of humanity as a restless sea=
=3D
=3D3B what was=3D2C will be again and again... the constant being that we a=
re l=3D
ocked into our humanness.=3D20
=3D20
Instead or mourning or decrying a lost past=3D2C let's trust that if we are=
o=3D
ut there creatively stirring things up=3D3B folks will come back to what tu=
rn=3D
ed them on many times before in the long thread of history. The fad driven =
=3D
masses ("us" included) constantly seek change even if found in repetition=
=3D
=3D2C given brief time elapses.
=3D20
Best to all=3D2C
=3D20
David Woof
=3D20
_____________________________________________________________________ =3D=
20
=3D20
Out of favor - the Minnesota scene
Posted by: "plasterjfl@AOL.COM" plasterjfl@AOL.COM=3D20
Date: Sat Mar 17=3D2C 2012 4:35 am ((PDT))=3D20
=3D20
I think the context of the above sentiment is really dependent upon yourloc=
=3D
ality.=3D20
Mel and I live in Minneapolis. (As does Lee.)=3D20
=3D20
The Minneapolis/Minnesota clay community developed a foundation as aresult =
=3D
of a passionate teacher at the University of Minnesota=3D2C Warren Mackenzi=
e.=3D
As he is retired that influence has diminished. As Warren's students gradua=
=3D
ted and matured they became both makers of potsand buyers of pots. (My high=
=3D
school ceramics teacher=3D2C for instance=3D2C was astudent.)=3D20
=3D20
Their kids=3D2C however=3D2C not having a passionate teacher like Warren=3D=
2C hav=3D
e notdeveloped the same love for wood fired wheel thrown pottery. (Some hav=
=3D
e=3D2C ofcourse=3D2C but most haven't.) Now that the marketplace is so much=
mor=3D
e crowded young consumers do notnecessarily see wood fired work as "more au=
=3D
thentic" as their parents did. The flip side of Warren's influence is that=
=3D
=3D2C for awhile=3D2C there were tons ofwheel throwing potters at any given=
cra=3D
ft related event. Some of thesepotters were very good but many were not.=3D=
20
=3D20
When the ACC came to town=3D2C in 1987=3D2C that threw a wrench in the syst=
em.C=3D
raft galleries=3D2C of which there were many=3D2C abandoned local potters. =
(In =3D
favorof "national" potters.) As the national pool of potters showed a great=
=3D
er diversity of styles thelook of galleries changed as well. (Round and bro=
=3D
wn went away in favor of more colorful work.) Once the economic downturn of=
=3D
the early 90's hit=3D2C the galleries=3D2C which werepart of the "luxury g=
oods=3D
" category=3D2C took a hit with it. Outside of the Northern Clay Center=3D2=
C an=3D
d a few other "centers" in the area=3D2Cthe Minnesota craft scene hasn't be=
en=3D
the same since.=3D20
=3D20
take care
Jeff Longtin
Minneapolis_
www.jefflongtin.etsy.com_ (http://www.jefflongtin.etsy.com) =
=3D
| |
|
