Beth and Matt Stichter on wed 3 jun 98
Dear Clayart group,
Here is an issue that has had me tied in knots.
I am a sculptor in love with clay. I received my BFA in sculpture from a
very classically oriented college with a small academic art department that
concentrated exclusively on the human figure and casting techniques
(plaster, bronze, waxes). It was largely frowned upon to use clay for
anything other than a practice medium (heaven forbid you *fire* that
clay...besides, it was full of plaster and junk). I managed to take a
couple of ceramic classes at a neighboring college, but upon graduating, my
portfolio consisted of mostly figurative work and a few large ceramic
sculptures. I took a year off , fleshed out my portfolio with additional
ceramic sculptures, and applied to ten graduate schools. Almost every
school where I interview informed me that clay was a craft medium and that
I shouldn't be applying to the sculpture department.
I was really disheartened after that. I was under the impression that
sculpture was sculpture, regardless of the medium.
Can any of you recommend sculpture MFA programs where I could working in
clay...as well as other materials? I didn't apply to any ceramic MFA
programs because I felt relatively unqualified (knowing barely anything
about glaze chemistry and only a a little about firing techniques and
throwing.....whereas I have spent a great deal of time studying various
casting techniques)....but I would also be open to any programs in ceramics
where there is a strong sculpture element.
I would definitely appreciate your input.
---Beth
stichtbm@netwalk.com
Dannon Rhudy on thu 4 jun 98
There really are several that have strong sculptural/clay programs.
Among those most figuratively oriented would be the University
of Washington at Seattle; Jeck and Warashina, among others, are
there.
----------------------------Original
message----------------------------
Dear Clayart group,
Here is an issue that has had me tied in knots.
I am a sculptor in love with clay. I received my BFA in
sculpture from a
very classically oriented college with a small academic art
department
that
concentrated exclusively on the human figure and casting techniques
(plaster, bronze, waxes). It was largely frowned upon to use clay
for
anything other than a practice medium (heaven forbid you *fire*
that
clay...besides, it was full of plaster and junk). I managed to
take a
couple of ceramic classes at a neighboring college, but upon
graduating, my
portfolio consisted of mostly figurative work and a few large
ceramic
sculptures. I took a year off , fleshed out my portfolio with
additional
ceramic sculptures, and applied to ten graduate schools. Almost
every
school where I interview informed me that clay was a craft medium
and
that
I shouldn't be applying to the sculpture department.
I was really disheartened after that. I was under the
impression that
sculpture was sculpture, regardless of the medium.
Can any of you recommend sculpture MFA programs where I
could
working in
clay...as well as other materials? I didn't apply to any ceramic
MFA
programs because I felt relatively unqualified (knowing barely
anything
about glaze chemistry and only a a little about firing techniques
and
throwing.....whereas I have spent a great deal of time studying
various
casting techniques)....but I would also be open to any programs in
ceramics
where there is a strong sculpture element.
I would definitely appreciate your input.
---Beth
stichtbm@netwalk.com
Louis Ballard on thu 4 jun 98
Try applying to the University of Illinois at Champaign-Urbana.
School of Art & Design
408 East Peabody Drive
Champaign, Illinois 61820
Talk to William Carlson and Ron Kovatch.
Good Luck.
Elizabeth Ferrari on thu 4 jun 98
Has anyone recommended Alfred State University in Alfred, NY. You can get
information on line at: http://scholes.alfred.edu/
Good luck
Linda Arbuckle on thu 4 jun 98
Beth,
I'm surprised that you got the reply that clay is a "craft" medium. It
would be more understandable if sculpture programs wanted you to work in
more than one materials to broaden your understanding of the field.
There are a number of clay programs that have faculty with a sculptural
direction. This list is off the top of my head. You may have to do more
post-bacclaureate work to get up to speed in clay, tho, so that you're
ready to work at a graduate level:
University of Florida: Nan Smith does life-sized figurative work in
installation setting. Several of the grads are working in figurative
sculpture. Nan is a great resource for tech and aesthetic issues of
working with large scale and installation work.
http://www.arts.ufl.edu/faculty/smith.html
Univ. of WA: Doug Jeck, Akio Takamori, Jamie Walker . Doug and Akio do
figurative work. Doug is/was teaching at Arrowmont this summer. He was
featured in American Ceramics a while back.
U of NM: Gina Bobrowski. Gina and her husband Triesch Voelker both make
figurative sculpture
S IL Univ @ Carbondale: Harris Deller doesn't do figurative sculpture
himself, but people doing that, like Kevin Turner, have come from that
program.
Edinboro Univ. (PA) Lee Rexrode, Stephen Keminiffey (sp?), and a third
faculty member whose name eludes me. Stephen's work is 2-d figurative.
Dana Groemmenger, an emerging talent at NCECA this year and an
interesting large-scale figurative sculptor, came from this program.
Univ. of GA, Andy Nasisse, Ted Saupe. Figure-related work.
I'd recommend getting more information about people working in
figurative clay and the ceramic field. Studio Potter Magazine had a
figurative clay issue some time back. Sorry, I don't know the citation.
Good luck.
Linda
--
Linda Arbuckle
Graduate Coordinator, Assoc. Prof.
Univ of FL
School of Art and Art History
P.O. Box 115801, Gainesville, FL 32611-5801
(352) 392-0201 x 219
e-mail: arbuck@ufl.edu
Penny Hosler on fri 5 jun 98
Original message...... (snip)
"and applied to ten graduate schools. Almost every
school where I interview informed me that clay was a craft medium
and that I shouldn't be applying to the sculpture department."
I know I'm new here, and perhaps if I weren't self-taught I would have
previously been made aware of this attitude, but am I the only one who's
wildly annoyed by this? No one seems to be appalled, so either there's a
valid reason or you're just used to it. I just attended a Peter King
workshop and saw a piece of his for which he was paid $50,000, so apparently
price isn't the yardstick. I know we have several education professionals
here, so please enlighten me.
(I haven't been this cranky in a loooong time----maybe prozac would
help.....)
Penny in Sequim, WA
-----Original Message-----
From: Dannon Rhudy
To: Multiple recipients of list CLAYART
Date: Thursday, June 04, 1998 7:44 AM
Subject: Re: Sculpture and Ceramics
>----------------------------Original message----------------------------
>
>There really are several that have strong sculptural/clay programs.
>Among those most figuratively oriented would be the University
>of Washington at Seattle; Jeck and Warashina, among others, are
>there.
>
>----------------------------Original
>message----------------------------
>Dear Clayart group,
>
>
> Here is an issue that has had me tied in knots.
>
> I am a sculptor in love with clay. I received my BFA in
>sculpture from a
>very classically oriented college with a small academic art
>department
>that
>concentrated exclusively on the human figure and casting techniques
>(plaster, bronze, waxes). It was largely frowned upon to use clay
>for
>anything other than a practice medium (heaven forbid you *fire*
>that
>clay...besides, it was full of plaster and junk). I managed to
>take a
>couple of ceramic classes at a neighboring college, but upon
>graduating, my
>portfolio consisted of mostly figurative work and a few large
>ceramic
>sculptures. I took a year off , fleshed out my portfolio with
>additional
>ceramic sculptures, and applied to ten graduate schools. Almost
>every
>school where I interview informed me that clay was a craft medium
>and
>that
>I shouldn't be applying to the sculpture department.
>
> I was really disheartened after that. I was under the
>impression that
>sculpture was sculpture, regardless of the medium.
>
> Can any of you recommend sculpture MFA programs where I
>could
>working in
>clay...as well as other materials? I didn't apply to any ceramic
>MFA
>programs because I felt relatively unqualified (knowing barely
>anything
>about glaze chemistry and only a a little about firing techniques
>and
>throwing.....whereas I have spent a great deal of time studying
>various
>casting techniques)....but I would also be open to any programs in
>ceramics
>where there is a strong sculpture element.
>
>
> I would definitely appreciate your input.
>
>
>
> ---Beth
>
> stichtbm@netwalk.com
>
Paul Lewing on fri 5 jun 98
Dannon Rhudy wrote:
>
> ----------------------------Original message----------------------------
>
> There really are several that have strong sculptural/clay programs.
> Among those most figuratively oriented would be the University
> of Washington at Seattle; Jeck and Warashina, among others, are
> there.
Actually, Patti Warashina has retired from UW, but it's still a very
good sculptural clay program. The teachers there now are Doug Jeck,
Jamie Walker, and Akio Takamori. How do you feel about incessant
rain, though?
Paul Lewing, in Seattle, where it's raining.
MRS SANDRA L BURKE on fri 5 jun 98
Hi Linda,
Nice to see you on line.
My question does not deal so much with ceramic sculpture but is one
regarding teaching.
I just finished my first year teaching ceramics at a junior college
in Mo. and am revising my syllabus this summer. The college I teach
at allows students to take ceramics as a general fine art class (in
place of an art aprec). this means I have students who have never had
an art class along with some freshman who are art students and very
talented.
I need to taylor the program to challenge all equally. Any ideas? I
have searched the net for educator ideas but mostly come up with
ideas for elementary/high school age.
thanks
Sandy Burke
Lorca Beebe on sat 6 jun 98
Penny:
What is it in particular that annoys you? The craft issue, getting an
education or a ceramic artist actually getting a fair price?
Lorca
You gotta pay your dues
Lorca Beebe on sat 6 jun 98
Sandy et al:
I usually am harder on the majors than the electives, more is required of
them. (Life is not fair). Although they all get the same demos and
assignments....What excatly are you teaching?
Lorca
Hank Ray on sat 6 jun 98
In a message dated 98-06-05 10:52:00 EDT, you write:
<< I know I'm new here, and perhaps if I weren't self-taught I would have
previously been made aware of this attitude, but am I the only one who's
wildly annoyed by this? No one seems to be appalled, so either there's a
valid reason or you're just used to it. I just attended a Peter King
workshop and saw a piece of his for which he was paid $50,000, so apparently
price isn't the yardstick. I know we have several education professionals
here, so please enlighten me. >>
The craft verses art (clay) thing has been battled over many times... and i'm
sure it will be battled over more..... the fine-art world is a make
believe,made up world... were people who know very little about art have a
percentage of the control....with politics that would make any congressman
duck for cover........ fine art and artist is/are vast and wonderful... but
the fine art world can be and is..... ugly....
half of me is appalled like you...
the other half is glad...... glad that clay can't be absolutly placed in craft
or art....glad that there is some mystery and controversy to it all, to keep
it interesting....
and besides... if you pick up an "american craft" magazine at the news stand..
you may not be so offended by the word "craft" .
and finally..... DadA says "ART IS DEAD"
rock on........ hank in okc oklahellma
snip------------original------
Original message...... (snip)
"and applied to ten graduate schools. Almost every
school where I interview informed me that clay was a craft medium
and that I shouldn't be applying to the sculpture department."
douglas gray on sat 6 jun 98
Penny,
You raise some interesting questions. I do think that the longer one works in
this discipline the less offensive those types of remarks become, not because
the remarks have any validity, but rather as a result of continued exposure to
such illogical thinking. I am relatively new in this business (took my first
class about twelve years ago) and I have noticed that opinions such as these
seem to irritate me less and less.
I was in a similar situation when I was applying for graduate work, only I was
interested in pursuing functional pottery. I came across one school where they
actually removed all the wheels from the ceramics lab under the assumption that
art can't be made on the wheel. I was appalled, but continued my search until I
found a program that was right for me.
As for the current thread about sculpture and ceramics. You know, as I do, any
assumption that clay should not be used to create sculpture is preposterous. It
does, however, speak volumes about the mind-set of the indivuals teaching at
those institutions. Rather than argue with these people (I do believe they are
entitled to their own opinion regardless of how much I may disagree with them)
the best course of action is often to continue looking. It would be unrealistic
to think that an educational experience in an environment such as that would be
appropriate or beneficial to a student with such opposing idealogies. This is
why the responses, thus far, have been as they have.
Perhaps I am being too passive and non-confrontational. Actually I encourage
you to speak your mind and formualte your own opinions, but as I pointed out in
my last post on tolerance, I believe it is important to tolerate the opinion of
others if you expect them to tolerate your own. So I try to choose my battles
wisely. For myself I have found that materials and techniques are not the
defining characteristics of ART. They are simple the means by which we manifest
our ideas.
I am reminded on a young man I had classes with when I was an undergraduate. He
liked to use what he called "granny glazes." Now, I don't mean to insult any
one, but these were small jars of low fire commercial glazes. He was one of the
few people I knew at that time who were not working in high fire reduction
glazes. It just so happened that he was also producing some of the most
creative and unique pieces I had seen. He taught me, early on, that anything
can be used to create art, even those stereotypical and highly stigmatized
"granny glazes." From this experience, I learned that the realm of ART (by my
own personal definition) is not limited by material or technique but by ideology
which is in turn determined by exposure and education.
We all define boundaries and limitations for art which comfortably suit our own
perceptions and definitions. We all have our breaking points where art stops
and something else begins. We all censor to a less or greater degree.
Thankfully, we do not live in a society where these boundaries are easily and
universally prescribed or accepted. It is unrealistic to expect that even a
small portion of the indivuals of this world--those we call artist--will ever
agree on exactly the same point where art and craft diverge. This is what
diversity is all about and I believe that we are richer for it. SO, as long as
I am entitled to think what I think, I allow others to think what they think,
prvided, of course that thinking is still a liberty in this world.
I am pleased to see you voicing your convictions and reminding others, like
myself, that we have the obligation to do so as well.
doug, stepping down from the bully pulpit.
In message Penny Hosler writes:
> ----------------------------Original message----------------------------
> Original message...... (snip)
> "and applied to ten graduate schools. Almost every
> school where I interview informed me that clay was a craft medium
> and that I shouldn't be applying to the sculpture department."
>
>
> I know I'm new here, and perhaps if I weren't self-taught I would have
> previously been made aware of this attitude, but am I the only one who's
> wildly annoyed by this? No one seems to be appalled, so either there's a
> valid reason or you're just used to it. I just attended a Peter King
> workshop and saw a piece of his for which he was paid $50,000, so apparently
> price isn't the yardstick. I know we have several education professionals
> here, so please enlighten me.
>
> (I haven't been this cranky in a loooong time----maybe prozac would
> help.....)
>
> Penny in Sequim, WA
>
============================================================================ =)
Douglas E. Gray, Assistant Professor of Art
P.O. Box 100547
Department of Fine Arts and Mass Communication
Francis Marion University
Florence, South Carolina 29501-0547
dgray@fmarion.edu
843/661-1535
MRS SANDRA L BURKE on sat 6 jun 98
Penny,
I guess we are all just so used to it that we just try to ignore it.
ceramics (and photography) have long been considered craft--NOT art.
I'm not sure why. I suppose they both CAN be just craft, but in my
opinion they can also be both.
I teach both ceramics and photography and have gotten used to SOME
artists looking down ther noses at me. Some things are worth fighting
about, but I don't have the time nor the energy to do so. If they
wish to belive as they do then----- well they are entitled to their
opinions and I am entitled to mine. Life is too short to fight
battles you cannot win. I doubt anything I say or do will change
their minds so I don't waste the time. Insted I put that time into
making my art and teaching.
This might be a good subject for discussion. Is anyone else bothered
by these beliefs? What IS art anyway?
Sandy Burke
PMFox on sun 7 jun 98
MRS SANDRA L BURKE wrote:
>
> ----------------------------Original message----------------------------
> > This might be a good subject for discussion. Is anyone else bothered
> by these beliefs? What IS art anyway?
> Sandy Burke
Sandy et.al.
I speak as an untrained potter, not as a degree carrying artist. There
are well-made pots that I can't call art, and some that I can. Those
that I call art have a bit of the potter's soul built in.
Patti
Dannon Rhudy on sun 7 jun 98
----------------------------Original
message----------------------------
Penny,
....I guess we are all just so used to it ... Is anyone else
bothered
by these beliefs? What IS art anyway?....
Sandy Burke....
Aha! I can tell you exactly. Not my opinion/idea, mind you,
but this is excerpted from a letter to Ceramics Monthly,
summer issue:
"One final note. I would like to put this "art
versus craft" thing to rest once and for all. It's really
very simple. Let's say you have a pig. Now, if you draw a
picture of that pig and nail it to your parlor wall, you
might think that that is art, but it is not - it's merely
a decorative accessory. If, however, you take and nail the
pig to the wall, well then, that there is art. Now, if at
a later date you can take the pig off the wall and play
"Scotland the Brave" with it, well, then, that is craft"
excerpted from letter signed "Stu Gray, Birmingham, MI".
Smile folks. Summer's here.
Dannon Rhudy
potter@koyote.com
J-Me Moorehead on sun 7 jun 98
does it really matter what people think about clay and where it
belongs in terms of labels.....as long as it is what you want to do
and people buy your creations (functional and non)...does it really
matter.
im in college, and i really dont care what label they tack on to a
degree that would allow me to learn as much as i possibly could about
clay. They could call it what ever they want...it really makes no
difference, it doesnt make me feel any differently about my passion
that is mud.
---getting her degree in mud--- sounds good to me...:)
Don Jones on sun 7 jun 98
>----------------------------Original message----------------------------
>In a message dated 98-06-05 10:52:00 EDT, you write:
>
><< I know I'm new here, and perhaps if I weren't self-taught I would have
> previously been made aware of this attitude, but am I the only one who's
> wildly annoyed by this? No one seems to be appalled, so either there's a
> valid reason or you're just used to it. I just attended a Peter King
> workshop and saw a piece of his for which he was paid $50,000, so apparently
> price isn't the yardstick. I know we have several education professionals
> here, so please enlighten me. >>
>
I believe that sculptors are lucky when they work in clay. They can then
get into the major craft events and actually sell their work. Price is not
the divider, SIZE is. I don't believe a large clay sculpture would be
allowed in an ACC show but I could be wrong. There are a lot a small
sculpture artists at craft fairs and they seem to be happy. Painters, on
the other hand, are on the outside of this big market and have their noses
pressed against the glass. Alot of them figure out ways to paint on clay
and join the party.
Don Jones
claysky@highfiber.com
:-) implied in all messages and replies
http://highfiber.com/~claysky
Marie Gibbons on mon 8 jun 98
Dear Clayarters,
On this crazy subject of Art vs Craft / Sculpture & Ceramics / Mine vs Yours .
.. .
Seems like the function to non-function aspect is the dividing line for alot
of folks.
My question is this:
Isn't there a "function" to everything we possess in life? We as a society
have greatly changed the "basic needs" group. We think we "need" alot of
stuff that we really just want, but that is our rationalization to purchase -
WE NEED IT.
I come from a very strong retail background - 15 years of selling in the
fashion industry. No one ever NEEDED to buy as many clothes as they did.
Realistically, all we need are maybe 2 -3 sets of clothing and we are set for
at least 6 mos. to a year. But people LIKE to have more clothing.
My retail background makes me look at my own marketing of my art much
differently than alot of my artist friends. I am always looking at How it
will fit into the lives of the public, which galleries have the clientel that
NEEDS art.
Doesn't a person buy a painting because they have a blank wall, or they
redecorated and the work they had before doesn't match their new colors (God
forbid!) So in essence, I think that ALL ART IS FUNCTIONAL, it is purchased
because it fills a need, serves a purpose to the individual buying it. It may
be that the purpose is to make the buyer feel good, remember a special event
in their lives, fill a blank space on the wall, go with the new decor in the
house, makes them laugh, etc. etc. etc. SO IS ALL ART CRAFT, BECAUSE IT
FUNCTIONS IN SOME WAY? OR IS ALL ART - ART!!
So much for my 2 cents.
Marie Gibbons
Arvada, CO
John Hesselberth on mon 8 jun 98
Penny, Doug, ClayArters,
Doug, I really liked your response to Penny's frustration, but I can't
resist getting philosophical and coming at it from a different angle.
To me, an "artist" who excludes clay artists from his/her domain is just
one more example of an all-too-common basic human characteristic, e.g.
the need to feel superior to or to exercise power over someone else or
some other group of people. Though perhaps different in degree, it is the
same characteristic that causes 1) people to join EXclusive country
clubs, 2) physicians (in the U.S.) to want to be called "Doctor", 3)
people to buy Mercedes, 4) members of one religion to tell members of
another they are going to a very warm climate for all of eternity, or,
for that matter 5) members of one race to hate members of another race.
And I could go on and on with examples. In my observation, the less
self-confidence or feelings of self worth that a person has, the more
likely they are to want to be exclusionary--although there are other
motivations also.
I too, used to get angry and frustrated when I found myself excluded when
there was no valid reason for the exclusion other than the above (and
there are valid reasons for being exclusionary--I really don't want a
surgeon operating on me if she's had no training to do so). I, like Doug
and others, have mellowed. I guess if I have any feelings today they are
ones of pity or sorrow. It is sad when a person or a group of people
have so little value for their own worth that they feel the need to put
down or exclude others. And yes, I realize that by making the preceeding
statement I am exhibiting a bit of the same characteristic. I think we
all do at one time or another to varying degrees.
By the way, my feelings on this matter is why I've become so attached to
the ClayArt forum in the 5 months I've been participating. It is one of
the most INclusionary groups I have ever seen! Thanks to every
participant for being that way.
My thoughts on whether a person is an artist or not: They are an artist
if they think they are creating art. The medium is irrelevant. Now they
may be a good artist or a poor artist, but they are an artist. The
marketplace--not art critics or art professors or any self-declared
expert-- ultimately will determine whether they were a good artist or a
poor artist by whether people are willing to give a substantial amount of
their life's energy (aka money) in order to be able to enjoy the artist's
work in their own home. A lucky few will learn that they were a good
artist during their lifetime. Lots of us will learn we are poor or
mediocre artists during our lifetime. Many will not learn unless they
are allowed to peak back a earth a couple generations after their death.
Of course, sometimes the motivation of people who pay lots of money to
buy art is to EXclude another from enjoying it. Now that I've taken this
set of philosophical meanderings full circle it's time to quit. Ah, life
is not simple, but don't you love it!
>----------------------------Original message----------------------------
>Penny,
>
>You raise some interesting questions. I do think that the longer one
>works in
>this discipline the less offensive those types of remarks become, not because
>the remarks have any validity, but rather as a result of continued
>exposure to
>such illogical thinking....
>> ----------------------------Original message----------------------------
>> Original message...... (snip)
>> "and applied to ten graduate schools. Almost every
>> school where I interview informed me that clay was a craft medium
>> and that I shouldn't be applying to the sculpture department."
>>
>>
>> I know I'm new here, and perhaps if I weren't self-taught I would have
>> previously been made aware of this attitude, but am I the only one who's
>> wildly annoyed by this? No one seems to be appalled, so either there's a
>> valid reason or you're just used to it. I just attended a Peter King
>> workshop and saw a piece of his for which he was paid $50,000, so apparently
>> price isn't the yardstick. I know we have several education professionals
>> here, so please enlighten me.
>>
>> (I haven't been this cranky in a loooong time----maybe prozac would
>> help.....)
>>
>> Penny in Sequim, WA
John Hesselberth
Frog Pond Pottery
Pocopson, PA 19366 USA
EMail: john@frogpondpottery.com
visit my web site at http://www.frogpondpottery.com
"Why should we be in such desperate haste to succeed and in such
desperate enterprises? If a man does not keep pace with his companions,
perhaps it is because he hears a different drummer. Let him step to the
music he hears, however measured or far away." Henry David Thoreau,
Walden, 1854
Margaret Arial on tue 9 jun 98
One of the reasons I went from being a painter to getting into clay in such a
big way even though i loved to paint has been the wonderful open honest people
I have encountered in the clay community over my lifetime.Somehow back in the
old days I never connected with any painters nor sculptors who shared so
selflessly and openly.It made a lasting lifelong impression on me.Don Reitz,
David Shanner,Toshiko Takaezu,Bernard Leach and Ladi Kwali,Rudio Autio
,Richard Notkin,Bennett Bean,Joe Bova,Nan and James McKinnell,Jack Earl, Lucy
Lewis,Carley Tart,Paula Winokur, Robert Sedestrom,Donald Frith,Victor
Spinski,Tom Mason and Linda Holder,Donna Nichols,Cynthia Bringle,Jerry
Chappelle , Tim Mather,Bryon Temple,Peter Beeseeker,Pete Pinnell, Chris
Staley,Patric HORSLEY, Fred Olsen,Beth Changstrom,Tom Coleman,Linda
Arbuckle,Karen Koblitz, Ann Heirondale,Clayton Bailey, John Glick, Ralph
Bacerra,John Karrach,Bill Hunt, William Daley,Penolpe Fleming ,Frank
Boyden,Rena Peleg,Ken Furguson,Stephen Hill,Richard Hirch,Martha Holt and
David Gambel,Otto and Vivika Heino,Warren McKenzie,Peter King and Katherine
Allen ,Don Pilcher,Steve Howell,Graham Marks,Virginia Cartwright,John
Leach,Kathy Triplett,Andy Martin,Jeanne Otis ,Tom Dimig,and so many more who's
names slip not to mention the generous demonstrators and lecturers at the
many conferences and meeetings over the years.They were all so wonderful and
the memories are truly beautiful.Going to their workshops were like dying and
going to clay heaven. .Of course ,some seemed like the other place firing
those all night kilns.
Excuse the name dropping here as once I started naming names I hated to leave
any out and then it became a challenge to remember all the memories and the
people who made them so special.Thanks to all of you and those whom I have
forgotten forgive me for time is getting to be a robber.The fellow students I
have met at at these and the institutions and staff are all close to my
heart.They are all why it has been a joy to study pottery and be called a
potter.
Margaret Arial
Lexington , South carolina
where the weather is WONDERFUL this day
Bill Downs on mon 15 jun 98
Quality craft is art! Not so quality art is rubbish! The academnicizing of art
has
done more to stagnate the creativity of today's young people than Newt can
ever be held responsible for.For most people in the art world their
credentials received from accredited colleges justify their claim to be
artists,and after that let the paint fall where it may. With these credentials
they form an exclusive club. This is why most artists display these
credentials so prominently in their bios. I say let the artists be judged for
their art and not for their credentials! What's lacking in so much popular art
today is craft. Not to mention a little god given talent.The chase for the
almighty buck in this capitalistic society sends our children scampering off
to college to get art educated because everyone with a degree makes more
money?But in fact how many BFAs and MFAs can make a living outside of academic
circles with the media of their choice.Many of the art greats of the past died
pennyless and the potters responsible for the work in ancient Asian
collections of great museums are unkown.My point is art circles and academic
circles today are woven closely together, and the more exclusive these circles
are kept, the financial rewards for artistic creativity can be controled by
and for those with degrees.Fortunately for me I have a career outside of the
artistic world that allowes me to create what I like and to hell with those
who would debate if it's craft or art! I see myself as a maker and I'm happy
that way.
Enjoy your creativity for its own sake. Bill Downs
| |
|
