MOLINA, RAFAEL on tue 15 jan 02
Ivor:
>Your analogy with music is interesting. Did you search back through the
manuscripts prior to the recording of the "Take the A->Train" for an example
of the qualities you tell us are associated with that music. Did it come
from a classical composer, church >music or some other source. I believe a
considerable amount of music, regardless of it being classical or popular,
has origins in >early cultural examples of sonic expression
I had some knowledge of the song, in particular of Strayhorn's inspiration
for the title. As far as the music goes, I'm no musicologist, but from what
I gather big band jazz of the 40's generally had roots back to the turn of
the century in Dixieland and even further back to "field holler's",
afro-carribean and indegenous african "music." As to the specific origins of
the "...A-Train" harmony, melody, chords, etc.,... in earlier cultural
examples I'm agnostic.
The point I'm trying to make with a music analogy is that later performances
of compositions can have just as much artistic and technical merit as the
first. I enjoy Dylan's "All Along the Watchtower" but, I prefer Hendrix's
cover. I think Hendrix's "Little Wing" is great, however, Sting's rendition
with Gil Evan's arrangment is nice and Stevie Ray's instrumental version is
profound. Bobby "Blue" Bland's and the Allman Bros. version's of the T-Bone
Walker's blues classic "Stormy Monday" are as meritorius as the Oak Cliff,
Texas musician's original. Eric Clapton and Cream's take on "Hideaway", an
homage to the original by Gilmer, TX native Freddie King, is probably better
known to the greater public.
>Now lets have a look at your archetypes for ceramic objects.
As far as ceramics goes, alot has been done before, but as you point out in
a recent article "Creating Original Designs" in the current PMI designs can
come from an individuals imagination through the preliminary research of
observing, sketching et al. My point is, that even if an artist arrives at
something INDEPENDANTLY a historical precedant can usually be found. Just
this past weekend I saw a figurative sculpture from antiquity (Olmec
culture) which some of contemporary ceramic artist Wes Anderegg's work
references. The same arched head, the same torso, the same outstretched
arms, etc.,... While he may have arrived at his work independantly the
antecedant is still there. It doesn't mean the contemporary work has any
less artistic or technical merit, however.
Another example is the the teapot. The basic components are the body, spout,
lid, and handle. Within that archetype are endless variations and I'm just
referring to a utilitarian teapot. Contemporary ceramics has seen the advent
of the teapot as decorative vessel or non-utilitarian sculpture with only
slight vestiges of the original form and function. But, even this idea is no
longer "original."
While my students may not be "original", they may come up with a unique
variation in form and surface. They may not be inventive, but I encourage
them to be innovative with shape, proportion, and scale, as well as, color,
pattern, and texture. I find this an effective teaching strategy.
Chao,
Rafael Enrique
Rafael Molina, MFA
Assistant Professor of Art
Department of Music, Art, and Dance
Tarrant County College-Southeast Campus
2100 Southeast Parkway
Arlington, TX 76018-3144
(817) 515-3711
(817) 515-3189 fax
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