Alisa og Claus Clausen on fri 17 aug 01
I read through the archives because it seemed that I had not received some
There I found something very funny.
It is not the English I misread, but the stress in the sentence and turned
around two words.
I know I read Tony's post several times, and I just could not get
it. After Ryan's kind explanation to me, I reread the post and there it
was, plain and simple, my mis-read. Actually slightly hilarious.
In my area of Ontario it costs at least a quarter million for an old house,
a slum in Toronto is $300,000. then what about a studio????? Students are
being taught in art school to make a life like penis. they are not being
taught to make a living.
I read being taught in art school to make a LIFE like a penis.
oh, now I see it reads make a like LIKE penis. got it. My mother
taught to me to avoid this subject..., so even though when
my father told me that by marrying a Scandinavian I was marrying a
sex maniac (one can only hope), I obviously still suffer from childhood's
sins! I am hurting by laughing so much at myself!
I hope you can also.
Then I read Lee's response to the other, slightly more sensible, part of my
It is possible to be a craftsman and not be able to be an
the most part, craft can be learned. Aspects of creativity can be learned
also, but creative genius is much more difficult.
I'm with Hamada on this question: I am just a workman. Only
time will tell if my work is that of an artist.
Lee, when I said
I think all craftsmen have potential to be artists but not all artists are
craftsmen. Before I am a ceramist, I am a potter. Of course in my own
ego, I would like to hear that I am also a ceramic artist.
I tried to convey that I think a lot of art is made without knowledge of
material. Who calls
it art or who decides who is an artist, is personal and another big topic.
I think that yes, a craft can be learned. However, when a craft is deemed
artwork, I appreciate seeing the craft behind the aesthetic. I should have
written that I think all crartsmen have the potential to be artists,
whether reached or not. Who knows how latent anyone's creative genious lies?
I am on the positive side of this thought that the potential is there and
that gives me so much
enthusiam for the potters, ceramists, clayworkers, etc. whom I come into
I remember the first time I came nose to nose to Hamada platters at the
Boston Museum of Fine Arts. I admit, I cried emotionally because it was so
unexpected and such a welcomed shock to see the work in reality.
Words get so swimmy.
It can be exhausting to explain oneself but worth the try to convey one's
true feelings about the importance of their life's work and goals. I
really glad that I checked the archives today.