iandol on mon 16 sep 02
Dear John Baymore,
Do not be misguided into evaluating or attaching labels to what children =
do as they explore their environments.
<<. And does the =
medium tend to indicate it as art or craft? ...>>>
Perhaps the "Medium" conveys the message!! ;-^)
I was a great concern to Gallery Security when I took classes round =
exhibitions. Always insisted my students caress sculptures. Drove the =
staff wild. Always argued Art was "Tactile". You should always be able =
to feel the surface of paintings, not imagine the brush strokes.=20
Famous words, from adolescent youth feeling bust of Bronze =
Nude...(Loudly in crowded gallery)..."She's cold Mr Lewis..."
Enjoy.
Best regards,
Ivor
Rebecca P on tue 17 sep 02
I took my children to the Museum of Art in Philadelphia many years ago and I
got in trouble for touching. The girls were good - as always. Should have
known then my hands would end up in clay!
>From: iandol
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: : Re: Children as artists
>Date: Mon, 16 Sep 2002 04:45:27 +0930
>
>Dear John Baymore,
>
>Do not be misguided into evaluating or attaching labels to what children do
>as they explore their environments.
>
><<. And does the
>medium tend to indicate it as art or craft? ...>>>
>
>Perhaps the "Medium" conveys the message!! ;-^)
>
>I was a great concern to Gallery Security when I took classes round
>exhibitions. Always insisted my students caress sculptures. Drove the staff
>wild. Always argued Art was "Tactile". You should always be able to feel
>the surface of paintings, not imagine the brush strokes.
>
>Famous words, from adolescent youth feeling bust of Bronze Nude...(Loudly
>in crowded gallery)..."She's cold Mr Lewis..."
>
>Enjoy.
>
>Best regards,
>
>Ivor
>
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Gavin Stairs on tue 17 sep 02
At 04:45 AM 16/09/2002 +0930, Ivor Lewis wrote:
>...I was a great concern to Gallery Security when I took classes round
>exhibitions. Always insisted my students caress sculptures. Drove the
>staff wild. Always argued Art was "Tactile". You should always be able to
>feel the surface of paintings, not imagine the brush strokes. ...
Oh! You iconoclast! How to push all their buttons at once! Children!
Touching! Making noise!
I have great sympathy for those who are entrusted with the care and
preservation of works of art. In Toronto at the AGO there is a great
collection of Moore plasters. I can't imagine this sort of thing being
tolerated there. The Rodin and Moore bronzes, maybe. After all, the Moore
bronze is outside and a public monument anyway. The Rodin is in the Main
hall off the foyer. Or they were the last time I saw them.
But each grubby little hand carries away a bit of the sculpture. And every
hand caressing a pot is a potential disaster. And now we have to contend
with the piles of paper and old rags that sculptors are fond of calling
their art these days. On the whole, I side with the curators, although if
I had been on the acquisitions committee, I probably wouldn't have
sanctioned, bought or accessioned the works in the first place.
Gavin
iandol on wed 18 sep 02
Dear Gavin Stairs,=20
You comment, relating to my teaching methods......
It's in the Blood and part of my cultural heritage.
Moore Plasters. They should be preserved behind glass. As for assembled =
piles of this and that. It may be Art but it hardly seems to rank as =
"Sculpture"...not carved or modelled.
Jacob Epstein knew how to use clay. I was always amazed that the =
Founders could preserve that effect in Bronze.
Best regards,
Ivor.
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