Wes Rolley on thu 1 apr 04
I was looking at the Smithsonian WWW site for other information and noticed=
=20
the link for the 2004 Smithsonian Craft Show, which will open April=20
21. When I looked at the Ceramic Artists=20
(http://smithsoniancraftshow.com/works/index.asp?cat_id=3D2) I noted that=20
there was not a single one whose name I remember from CLAYART, though that=
=20
may be because I was not paying attention. The world is wondrously wide.
"I find I have a great lot to learn =96 or unlearn. I seem to know far too=
=20
much and this knowledge obscures the really significant facts, but I am=20
getting on." -- Charles Rennie Mackintosh
Wesley C. Rolley
17211 Quail Court
Morgan Hill, CA 95037
(408)778-3024
Chris Campbell on fri 15 dec 06
Here is a link to the Smithsonian Craft Show ...
http://www.smithsoniancraftshow.com/
Go to the right hand side under exhibitors
and click on the media ... click on any
artist's image to see the five images they
submitted for jurying.
Expect to be amazed.
Chris Campbell - in North Carolina
Chris Campbell Pottery LLC
9417 Koupela Drive
Raleigh NC 27615-2233
Fine Colored Porcelain since 1989
1-800-652-1008
Fax : 919-676-2062
website: www.ccpottery.com
wholesale : www.wholesalecrafts.com
Anne Doyle on sat 16 dec 06
Thankyou for sharing that... wow... there are no words for the feelings
that come from looking at the pieces... i was especially taken by Elizabeth
McCurdy's...
What beauty to have brought into the world!
Anne, in Saint-Sauveur, where the rains have stopped for now and the birds
are in a feeding frenzy at the feeders...
Anne Doyle on sat 16 dec 06
OOOps... thats Jenniffer McCurdy, not Elizabeth,... so sorry to the
artist!...drats...
Paul Borian on sun 17 dec 06
i will jump in where i almost never do to make what i am sure will be a
controversial statemtent, which is that i really am not impressed by most
of that stuff. Most of it is totally non-functional and would have to sell
for prices that are completely out of range for all but the wealthiest
people who would purchase it just so it can sit on a shelf somewhere
gathering dust. The question that always comes to my mind when i see things
like that are if the people who make them can actually make a living off of
what they do, putting countless hours into their creations that almost no
one can afford to buy. In fact, i would go as far as to say there was not a
single thing there i would take for free if they gave it to me.
Of course, i am totally incapable of making anything like that, but i see
that as a good thing because even if i was i still would stick with
functional pottery that i can make a living off of, working from home out
of a garage.
-Paul
Helen Bates on mon 18 dec 06
http://www.smithsoniancraftshow.com/2006/
--
Helen Bates
Belleville, Ontario, Canada
Clayarters' URLs: http://amsterlaw.com/clayart/
Antoinette Badenhorst on mon 18 dec 06
Well Paul, I am the first one to jump into your controversy and tell you
that your comments are na=EFve and arrogant. Throughout my 25 year =
career I
went through different phases. I had a time for production "out of my
garage" and all the other possible things....including my own gallery. I =
had
times when people first asked what does a piece cost and then said they =
like
it and I had times when people said they liked a piece and said they =
want it
without looking at the price.
The later one gives me more pleasure because I know they what the piece =
for
the value of the piece and not the money value. People that buy my work
(which is not cheap) buy it because they value my knowledge, my =
expertise my
time and effort and the individualistic character that my work carries. =
(I
am sorry that I use myself as an example here, but I can only speak for
myself)On the other hand I value the Smithsonian work for the very same
reasons.
=20
How much personal attention do you give to your pieces? How much =
personal
attention do I give to my pieces? How well do you remember a specific =
piece
that you made 20 years later? How well do I remember a specific piece =
that I
made 20 years later?
Which one of the two of us will have the biggest influence on the =
history of
art and craft and how important is that to you?
You know there was a time that I did not think further than making the
pieces and glazing them with not much thought in my garage. That was 25
years ago in South Africa when I was still learning to make decent pots.
Then one day we immigrated to the USA and my family was relying on me to =
get
us a green card......I had to prove that my work was in the top 10 =
percent
of American Ceramic artwork. If I was still "selling pots from my =
garage", I
would not have been able to provide security for my family in the USA.=20
What is the moral of my story.....think of who you are, why you are who =
you
are and what you want to be by the end of the season.....more so ask
yourself what your role in history will be.....
NO OFFENCE TO ALL MY PRODUCTION BUDDIES THAT DO PUT A LOT OF TIME AND =
EFFORT
INTO THE PROCESS OF DESIGNING AND EXECUTING THEIR WORK. ALSO NO OFFENCE =
TO
THOSE THAT ARE AIMING THEIR, BUT COULD NOT PUT THEIR GOALS AND THEIR
EXPERINCE TOGETHER IN HARMONY.
Best wishes.
Antoinette Badenhorst
105 Westwood Circle
Saltillo MS, 38866
662 869 1651
www.clayandcanvas.com
www.southernartistry.org
=20
=20
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Paul Borian
Sent: Sunday, December 17, 2006 6:25 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Smithsonian Craft Show
i will jump in where i almost never do to make what i am sure will be a
controversial statemtent, which is that i really am not impressed by =
most
of that stuff. Most of it is totally non-functional and would have to =
sell
for prices that are completely out of range for all but the wealthiest
people who would purchase it just so it can sit on a shelf somewhere
gathering dust. The question that always comes to my mind when i see =
things
like that are if the people who make them can actually make a living off =
of
what they do, putting countless hours into their creations that almost =
no
one can afford to buy. In fact, i would go as far as to say there was =
not a
single thing there i would take for free if they gave it to me.
Of course, i am totally incapable of making anything like that, but i =
see
that as a good thing because even if i was i still would stick with
functional pottery that i can make a living off of, working from home =
out
of a garage.
-Paul
_________________________________________________________________________=
___
__
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You may look at the archives for the list or change your subscription
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Moderator of the list is Mel Jacobson who may be reached at
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Beth Spindler on mon 18 dec 06
beauty is in the eye of the beholder...
as far as the ceramic works displayed at the Smithsonian's website - it left
me wondering about the artists and what they were feeling when they created
those pieces - my mind seemed to actually skim over the pieces themselves, but
there was this loud voice in my head that kept saying......beauty is in the eye
of the beholder....beauty being much more than seeing the piece with one's
eyes, but with one's heart and soul.
and perhaps many may call me ignorant as well - "seeing" as I was not
moved, motivated or inspired by any of these "works of art."
Beth in Virginia......playing with earthenware and trying to create pieces
that bring people to the conclusion....Pottery, Mud You Can LOVE!!! :)
Mayssan Shora Farra on mon 18 dec 06
On Tue, 19 Dec 2006 07:25:23 +0900, Lee Love wrote:
> All I ask for is one example that begged to be used.
>
Hello Lee:
I normally don't like to wade into these discussions, but I have to say
that there are at least 3 examples;
1-The orange pot by Fong Choo just begs to pour tea. (and his work sells
for thousands to knowledgable collectors)
2-Jennifer C McCrudy's. Artistic creations that are almost as intricate
comlicated and elegant as nature itself.
3-Kenneth A. Standhardt'ssmoothly strong work seem to actually be
functional as boxes and such I would love to run my hands on, to feel
that texture. And speaking of bones the bones on that work are pretty fine
even without the intricate pattern on the skin.
I have to confess I could not figure out the work of
Libby A. Ware, just because I could not fiure what it is. Bricks?
sculpture? Building blocks? Any help from someone that knows would stop me
from scraching my head.
Mayssan< Still in Charleston WV USA
http://www.clayvillepottery.com
Lee Love on tue 19 dec 06
On 12/19/06, Mayssan Shora Farra wrote:
> On Tue, 19 Dec 2006 07:25:23 +0900, Lee Love wrote:
>
> > All I ask for is one example that begged to be used.
> I normally don't like to wade into these discussions, but I have to say
> that there are at least 3 examples;
>
> 1-The orange pot by Fong Choo
Really? The handle looks like it would snap if you tried
to pour it full of liquid. The balance is way offm so you would
have to try and hold the body in some way while you poured. How would
you clean the inside of tea leaves with the opening so small? It is
one of those teapots made to look at & not use.
I thought Marge Margulies's work came the closest to being
useful. I liked the featured image, but then I looked at the other
exampes and wasn't so sure.
There is a place for all these works certainly, but
there is also a place for functional work.
What I have noticed about the International Mashiko
competition, is that the Kamoda prize tends to go to strictly
sculptural work while the Hamada prize goes to decorative vessels.
This leaves little space for straight functional work. Work that
is really meant to be used.
It is really too bad. Shoji Kamoda broke away from
Yagi's Kyoto group because he found it essential that his work
continue to relate to the vessel. In fact, for the first
competition, many folks making sculpture did not enter, because they
knew Kamoda's perspective. It wasn't until sculpture was
specifically welcomed, that people started submitting it. But they
really need three categories: Sculpture, decorative functional and
functional. Then, there would be something for everybody.
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://potters.blogspot.com/
"Let the beauty we love be what we do." - Rumi
"When we all do better. We ALL do better." -Paul Wellstone
Lois Ruben Aronow on tue 19 dec 06
> > "seeing" as I was not
> > moved, motivated or inspired by any of these "works of art."
>
> All I ask for is one example that begged to be used.
>
Question: why does all clay work have to be usably functional? Can't it's
function be simply decorative? Enjoyable to look at? Create a mood?
The work in the Smithsonian show - in all media - generally fits 2 major
criteria. The first is technical excellence. The second criteria is a
"thinking out of the box" exercise. Every artist in this show must use their
technical excellence to take their materials to new levels of design and
presentation.
In ceramics, there is generally only 1 functional person accepted each year.
The remainder are sculptural or in other ways unique. Having seen many of
these works in person, I can tell you they are awe inspiring - even those
not to my personal taste.
This show is of an extremely high standard, and the work accepted is
generally museum quality. You won't find anyone having a booth consisting of
milk crates and a folding table. The buyers are generally collectors,
rather than people looking for a birthday gift.
You are really doing yourself - and your art - a disservice if you are
unable or unwilling to step back and explore the craftsmanship involved. The
big trick is that every artist has established a personal style that
integrates their entire body of work.
In simpler terms - I really hate opera, but I know those folks with the big
voices and the hideous costumes can sing like nobody's business - even if I
can't stand hearing it.
Lois Ruben Aronow Ceramics
232 Third Street - # B202A
Brooklyn, NY 11215
p: 917..561..2854
f: 718..246.0819
www.loisaronow.com
Lois Ruben Aronow on tue 19 dec 06
Be aware that you can click on any image and see the artist's entire jury
submissions. This is a good exercise for people who are interested in the
range of work one submits to a jury, how the images interact with each
other, and how they represent the style of the artist.
Some notes:
> 1-The orange pot by Fong Choo just begs to pour tea. (and his
> work sells for thousands to knowledgeable collectors)
You're gonna be awfully thirsty. That teapot is probably 2 inches tall,
maybe 3. I dare anyone to try and replicate is glazing techniques. He's a
fun guy - I think his personality sells half his work.
>
> 2-Jennifer C McCrudy's. Artistic creations that are almost as
> intricate comlicated and elegant as nature itself.
Thrown, altered and carved grolleg porcelain. Each translucent.
>
> 3-Kenneth A. Standhardt'ssmoothly strong work seem to
> actually be functional as boxes and such I would love to run
> my hands on, to feel that texture. And speaking of bones the
> bones on that work are pretty fine even without the intricate
> pattern on the skin.
Not to my taste, but I would love to see more detail of his transfer or
carving techniques. The illustration is an art unto itself.
>
> I have to confess I could not figure out the work of Libby A.
> Ware, just because I could not fiure what it is. Bricks?
> sculpture? Building blocks? Any help from someone that knows
> would stop me from scraching my head.
The photos don't do the work justice. Go to her site:
http://www.libbyware.com They are porcelain wall sculpture. You can also
enlarge each picture to see the fine detail.
Lee Love on tue 19 dec 06
On 12/19/06, Lois Ruben Aronow wrote:
> > > "seeing" as I was not
> > > moved, motivated or inspired by any of these "works of art."
> >
> > All I ask for is one example that begged to be used.
> >
> Question: why does all clay work have to be usably functional? Can't it's
> function be simply decorative? Enjoyable to look at? Create a mood?
Yes, but there is room for function too so it should have SOME
representation.
Here in Japan, a tea bowl is appreciated as much as a
Rembrandt. I would like to see the Smithsonian stretch a little bit.
Clay does not have to become unfunctional or dysfunctional to be
respected as art. This is wrong headed.
>In simpler terms - I really hate opera, but I know those folks with the big
>voices and the hideous costumes can sing like nobody's business - even if I
>can't stand hearing it.
Sure, opera can be represented. But do you only want to hear
the Fat Lady Sing? ;^) How about folk music, the blues and Jazz?
America is respected the world around for these arts and not opera.
If the Smithsonian were a private organization, it would be
a different story. But the Smithsonian represents you and me. We
own it. It should do more than teach people that only "museum
quality" work can be respected.
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://potters.blogspot.com/
"Let the beauty we love be what we do." - Rumi
"When we all do better. We ALL do better." -Paul Wellstone
Lee Love on tue 19 dec 06
On 12/19/06, Lois Ruben Aronow wrote:
> Be aware that you can click on any image and see the artist's entire jury
> submissions.
I looked at them all. I was hopeful!
> This is a good exercise for people who are interested in the
> range of work one submits to a jury, how the images interact with each
> other, and how they represent the style of the artist.
In a class at the UofMn, before we saw Mark Pharis' work in
person, we saw it in slides. It was a great treat to see the work in
person and walk around the forms. My interest in sufaces come from
Marks lowfire work in soda and also the gentle climbing kilns in Mn
and Wisc. The pots we saw looked best from the front. They were
very thin vessels and really had no sides. One of us students
remarked that the work looked strange from the sides. Mark told us
that he made this work for slide competition and that was what he was
thinking about when he made them.
When you work is a response to how it will look as slides, you
are in danger of loosing tactile and 3D elements. It is my
personal belief that the final judging of all 3d work should be of
the objects themselves. And personally, I would like to see the
first cut done by a blindfolded jury. If it passes that test, then
judge them by looking at them.
Lee in Mashiko, Japan
Timothy Sullivan on tue 19 dec 06
When a jury meets for a major show, they are looking at a vast amount of
work in a very limited time frame. A couple of years ago I saw that the
Winter Park jury went through over 1500 artist submissions in a single six
hour session. With the advent Of ZAPP, I expect that some of the majors
will soon have thousands of applicants to sort through.
It's easy for us to say that the show organizers should find a better way to
do things, but I doubt that they will. I believe that they all want the
best shows that they can get, but they are rarely artists themselves, and
have a different objective than we do.
The net of all of this is that an individual can be juried out of a show
with as little as five or six seconds of total screen time. It's extremely
difficult for subtlety and nuance to be appreciated in that amount of time,
particularly with so many images blasting the jurors. As a result, you
often see work being accepted that is flamboyant, self indulgent,
"sculptural", brightly colored etc. It's work that stands out in the jury
process, it may or may not hold up in person.
IMHO, the most meaningful work requires time to appreciate and understand.
Juries simply don't have that kind of time, so they go with the stuff that
makes the big splash, and that makes a strong immediate impression. It's
even kind of a self-fulfilling prophesy as artists make work just for the
jury process. Then the public gets told that this is the "best of the
best", sometimes it is - often it isn't.
With regards to the Smithsonian show, while it's not all to my taste, I
believe that many fine ceramic artists are represented. Karl Yost's work is
wonderful (I have two), The Parmentiers are excellent potters, Paul
Eshelman's work is minimalist, functional and beautiful and Jennifer
McCurdy's pieces are exquisite.
Timothy Sullivan
Creekside Pottery
www.creeksidepottery.net
Marietta, GA
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Lee Love
Sent: Tuesday, December 19, 2006 8:17 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Smithsonian Craft Show
On 12/19/06, Lois Ruben Aronow wrote:
> Be aware that you can click on any image and see the artist's entire jury
> submissions.
I looked at them all. I was hopeful!
> This is a good exercise for people who are interested in the
> range of work one submits to a jury, how the images interact with each
> other, and how they represent the style of the artist.
In a class at the UofMn, before we saw Mark Pharis' work in
person, we saw it in slides. It was a great treat to see the work in
person and walk around the forms. My interest in sufaces come from
Marks lowfire work in soda and also the gentle climbing kilns in Mn
and Wisc. The pots we saw looked best from the front. They were
very thin vessels and really had no sides. One of us students
remarked that the work looked strange from the sides. Mark told us
that he made this work for slide competition and that was what he was
thinking about when he made them.
When you work is a response to how it will look as slides, you
are in danger of loosing tactile and 3D elements. It is my
personal belief that the final judging of all 3d work should be of
the objects themselves. And personally, I would like to see the
first cut done by a blindfolded jury. If it passes that test, then
judge them by looking at them.
Lee in Mashiko, Japan
____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Richard Aerni on tue 19 dec 06
The Smithsonian is like most other craft shows...it really depends on the
jurors and which way they want to go on any particular year. The last time
I did it, five or six years ago, one of the jurors was the head of Penland,
or Penland clay, I can't remember which. Functional potters were well
represented.
Best,
Richard Aerni
Rochester, NY
Beth Spindler on tue 19 dec 06
"seeing" as I was not
> > > moved, motivated or inspired by any of these "works of art."
these were my words to set the record straight....and I want to reiterate,
beauty is in the eye of the beholder.....think upon that for a moment - we are
all born with a subjective view of life, etc......thus, my previous comment.
thank you very much for allowing me to share my two-cents... :)
I raise my "whiskey cup" to a healthy, happy and prosperous new year to all!
Hugs,
Beth in VA :)
> >
Richard Aerni on tue 19 dec 06
On Tue, 19 Dec 2006 09:05:44 -0500, Timothy Sullivan
wrote:
>When a jury meets for a major show, they are looking at a vast amount of
>work in a very limited time frame. A couple of years ago I saw that the
>Winter Park jury went through over 1500 artist submissions in a single six
>hour session. With the advent Of ZAPP, I expect that some of the majors
>will soon have thousands of applicants to sort through.
>
The Smithsonian was the first show to go with an all digital submission and
jurying process. That started five years ago, I believe. It opens up all
kinds of permutations from the standard live slide jurying process, as they
ship the images to the jurors now.
I've heard from some of the people who do the top shows that it's actually
easier to get into them now, as many craftspeople haven't yet converted
(either physically or mentally) to the digital way of doing things.
Just more to think about...
Richard Aerni
Rochester, NY
Taylor Hendrix on tue 19 dec 06
Hey Chris,
Thanks for sharing the link with us. Certainly you weren't expecting
us to just enjoy the pictures without commentary were you? Always room
for chest beating and tambourine shaking around here.
Halleluiah, jump a pew! I saw pit fired pieces in that group.
Taylor, in Rockport TX, who thinks everyone should get a break today.
On 12/15/06, Chris Campbell wrote:
> Here is a link to the Smithsonian Craft Show ...
>
> http://www.smithsoniancraftshow.com/
...
Linda White on tue 19 dec 06
On Dec 18, 2006, at 11:41 PM, Helen Bates wrote:
> http://www.smithsoniancraftshow.com/2006/
>
Helen:
Just as I was thinking I was going to have to find the Smithsonian
Craft Show, you put it on ClayArt! THANK YOU!!
Linda White
Dushore PA
Lee Love on tue 19 dec 06
On 12/18/06, Paul Borian wrote:
> i will jump in where i almost never do to make what i am sure will be a
> controversial statemtent, which is that i really am not impressed by most
> of that stuff. Most of it is totally non-functional and would have to sell
> for prices that are completely out of range for all but the wealthiest
> people who would purchase it just so it can sit on a shelf somewhere
> gathering dust.
Not so controversial Paul. I was disappointed too.
You simply wish they allowed a little diversity.
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://potters.blogspot.com/
"Let the beauty we love be what we do." - Rumi
"When we all do better. We ALL do better." -Paul Wellstone
Lee Love on tue 19 dec 06
On 12/19/06, Antoinette Badenhorst wrote:
> Which one of the two of us will have the biggest influence on the history of
> art and craft and how important is that to you?
Only time will tell. Please give Paul a break.
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://potters.blogspot.com/
"Let the beauty we love be what we do." - Rumi
"When we all do better. We ALL do better." -Paul Wellstone
Lee Love on tue 19 dec 06
On 12/19/06, Beth Spindler wrote:
> beauty is in the eye of the beholder...
To a degree. There are also universal aspects. If we have no
standards, then it is all relative, and not life sustaining.
> "seeing" as I was not
> moved, motivated or inspired by any of these "works of art."
All I ask for is one example that begged to be used.
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://potters.blogspot.com/
"Let the beauty we love be what we do." - Rumi
"When we all do better. We ALL do better." -Paul Wellstone
Lee Love on wed 20 dec 06
On 12/19/06, Timothy Sullivan wrote:
>
> It's easy for us to say that the show organizers should find a better way to
> do things, but I doubt that they will.
It is easiest to just do "what has always been done."
Many International and national competitions in Japan, as well as
in other parts of Asia, either required the work to be shipped
initially, or like with the Korean Biennale, the initial jurying is by
slide, but after the first cut, you send the actual work in.
I don't believe we Americans are any less capable.
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://potters.blogspot.com/
"Let the beauty we love be what we do." - Rumi
"When we all do better. We ALL do better." -Paul Wellstone
Lee Love on wed 20 dec 06
On 12/19/06, Beth Spindler wrote:
> beauty is in the eye of the beholder.....think upon that for a moment - we are
> all born with a subjective view of life, etc......thus, my previous comment.
While tastes are totally subjective, there are universal
aspects of beauty. Technical skill does not always equal beauty, but
technical criteria are often used by folks when aesthetic judgment is
not present, or when it doesn't apply to the object being considered.
> I raise my "whiskey cup" to a healthy, happy and prosperous new year to all!
My one nightly beer is all gone but, Happy Holidays!
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://potters.blogspot.com/
"Let the beauty we love be what we do." - Rumi
"When we all do better. We ALL do better." -Paul Wellstone
Richard Aerni on wed 20 dec 06
Russell asks "What is ZAPP?"
Boy Russell, where are you hanging out, Belgium??? You don't know what ZAPP
is?
Actually, it's not the part of ZAPP Mama that's still singing...
It's a unified, coherent, place set up by an association of craft shows and
artists (I think) so that jurying can go digital. Artists file their
digital images on their account space, and from there they can apply to
those shows that subscribe to the service with a few clicks of the mouse (I
think, I'm just getting up to speed with them). They have determined a
standard size for the images (1920 x 1920 pixels), and established sizes for
the jpgs so that huge files don't come in. They have detailed instructions
on how to best put yourself forward in the venue, and if you don't want to
do it yourself, have a list of people who will do it for you (not cheap).
Here is their website url:
http://www.zapplication.org/
So, stop by and check it out.
Best,
Richard Aerni
Rochester, NY
Russel Fouts on thu 21 dec 06
Thanks, Richard,
I thought you said you weren't doing shows any more? ;-)
ZAPP is the same group who run 'Cafe' (http://www.callforentry.org).
It seems that ZAPP is for Art shows and Cafe is for exhibitions. ZAPP
has a LOT more entries than Cafe. They are both run by WESTAF. It's
strange that the sites don't more prominently acknowledge one
another; Exhibitions = Cafe, Shows = ZAPP. I did find, in the about
us page that the also operate ArtistsRegister.com, ArtJob.org and
CultureGrants OnlineSM.
The Clay National took entries via Cafe.
The image format, size, etc are exactly the same. Although 1920 x
1920 is an unusual format to us now, they make a very good case for
it in their examples. It's probably going to become a standard
digital submissions for the future.
It's also very practical to be able to store your images online and
submit them via a central service. I found Cafe very easy to use and
very clear in their explainations and recommendations. I just wish
more people used it.
This is the future, folks.
Russel (who seems to only be able to write short sentences this morning)
At 02:23 21/12/2006, you wrote:
>Russell asks "What is ZAPP?"
>
>Boy Russell, where are you hanging out, Belgium??? You don't know what ZAPP
>is?
>Actually, it's not the part of ZAPP Mama that's still singing...
>It's a unified, coherent, place set up by an association of craft shows and
>artists (I think) so that jurying can go digital. Artists file their
>digital images on their account space, and from there they can apply to
>those shows that subscribe to the service with a few clicks of the mouse (I
>think, I'm just getting up to speed with them). They have determined a
>standard size for the images (1920 x 1920 pixels), and established sizes for
>the jpgs so that huge files don't come in. They have detailed instructions
>on how to best put yourself forward in the venue, and if you don't want to
>do it yourself, have a list of people who will do it for you (not cheap).
>Here is their website url:
>
>http://www.zapplication.org/
>
>So, stop by and check it out.
>
>Best,
>Richard Aerni
>Rochester, NY
Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75
Http://www.mypots.com
Home of "The Potters Portal"
Over 3000 Pottery Related Links!
Updated frequently
"The enumeration in the Constitution of certain rights
shall not be construed to deny or disparage others
retained by the people"
9th Amendment to the Constitution of the United States of America
Richard Aerni on thu 21 dec 06
On Thu, 21 Dec 2006 07:43:09 +0100, Russel Fouts wrote:
>Thanks, Richard,
>
>I thought you said you weren't doing shows any more? ;-)
>
Russel,
Thank you! Lots of useful information there.
About the shows...it's true I would like to wean myself away from them, but
it doesn't happen overnight, as something has to take their place. I make
100% of my living from my clay sales, so you've got to do what you've got to
do.
I do museum shows, gallery shows, craft shows on the streets, studio sales,
workshops, teach classes, write to clayart ...whatever it takes. I'm
always looking for a better way!
Best to you,
Richard Aerni
Rochester, NY
Susan Fox Hirschmann on thu 21 dec 06
In a message dated 12/21/2006 8:53:11 AM Eastern Standard Time,
raerni@ROCHESTER.RR.COM writes:
I do museum shows, gallery shows, craft shows on the streets, studio sales,
workshops, teach classes, write to clayart ...whatever it takes. I'm
always looking for a better way!
When you find it, do let us all know!
I totally understand where you are coming from....I, too , have dropped lots
of shows that were not financially productive. And yes, one needs to do their
own thing. 17 yrs ago I started my own STudio shows and now I do them twice
a year and with very little expenses,(No Huge booth fees) other than Modern
Postcards, mailings and great goodies to eat and drink.....they are getting
better and better. Nine out of 10 people that come do buy from me. I also offer
my neighbors a 10% discount just for being part of our neighborhood here and
they relish that. When they need wedding gifts they come to me, instead of
battling traffic at the malls.
It is a totally win/win situation.
But we still need to do some shows...cause it is all out "being out there"
with the work to help pay the bills.
I encourage all potters to do their own shows or small group shows. We need
to be as creative with our marketing as we are with our work!
Sincerely
Susan
Annandale, VA
Sandy Miller on thu 21 dec 06
Hi Russel,
I did not enter any nceca exhibitions this year as could not figure out how to
get my images to fit their guidelines. God Bless Linda Arbuckle for her
patience in try to help me! Is this something we could cover in the
clayart room at nceca? I think there a quite a few of us struggling
with this entry process. Linda pointed out this is the future for the
jury process. I have switched to digital but now uploading........what next
shows at the mall................remembering our trip to a nyc mall........
happy solstice!
Sandy
Russel Fouts wrote:
Thanks, Richard,
I thought you said you weren't doing shows any more? ;-)
ZAPP is the same group who run 'Cafe' (http://www.callforentry.org).
It seems that ZAPP is for Art shows and Cafe is for exhibitions. ZAPP
has a LOT more entries than Cafe. They are both run by WESTAF. It's
strange that the sites don't more prominently acknowledge one
another; Exhibitions = Cafe, Shows = ZAPP. I did find, in the about
us page that the also operate ArtistsRegister.com, ArtJob.org and
CultureGrants OnlineSM.
The Clay National took entries via Cafe.
The image format, size, etc are exactly the same. Although 1920 x
1920 is an unusual format to us now, they make a very good case for
it in their examples. It's probably going to become a standard
digital submissions for the future.
It's also very practical to be able to store your images online and
submit them via a central service. I found Cafe very easy to use and
very clear in their explainations and recommendations. I just wish
more people used it.
This is the future, folks.
Russel (who seems to only be able to write short sentences this morning)
At 02:23 21/12/2006, you wrote:
>Russell asks "What is ZAPP?"
>
>Boy Russell, where are you hanging out, Belgium??? You don't know what ZAPP
>is?
>Actually, it's not the part of ZAPP Mama that's still singing...
>It's a unified, coherent, place set up by an association of craft shows and
>artists (I think) so that jurying can go digital. Artists file their
>digital images on their account space, and from there they can apply to
>those shows that subscribe to the service with a few clicks of the mouse (I
>think, I'm just getting up to speed with them). They have determined a
>standard size for the images (1920 x 1920 pixels), and established sizes for
>the jpgs so that huge files don't come in. They have detailed instructions
>on how to best put yourself forward in the venue, and if you don't want to
>do it yourself, have a list of people who will do it for you (not cheap).
>Here is their website url:
>
>http://www.zapplication.org/
>
>So, stop by and check it out.
>
>Best,
>Richard Aerni
>Rochester, NY
Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75
Http://www.mypots.com
Home of "The Potters Portal"
Over 3000 Pottery Related Links!
Updated frequently
"The enumeration in the Constitution of certain rights
shall not be construed to deny or disparage others
retained by the people"
9th Amendment to the Constitution of the United States of America
______________________________________________________________________________
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Russel Fouts on thu 21 dec 06
Timothy,
>> When a jury meets for a major show, they are looking at a vast amount of
work in a very limited time frame. A couple of years ago I saw that the
Winter Park jury went through over 1500 artist submissions in a single six
hour session. With the advent Of ZAPP, I expect that some of the majors
will soon have thousands of applicants to sort through. <<
What is ZAPP?
Russel
Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75
Http://www.mypots.com
Home of "The Potters Portal"
Over 3000 Pottery Related Links!
Updated frequently
"The enumeration in the Constitution of certain rights
shall not be construed to deny or disparage others
retained by the people"
9th Amendment to the Constitution of the United States of America
Irene A. Wytzka Lawson on tue 10 apr 12
This is a wonderful article about the current Smithsonian show=3D2C well wo=
rt=3D
h a read. A FB friend of mine=3D2C a fabulous jeweler=3D2C Michael Romanik=
was=3D
accepted after 17 consecutive years of applying! Talk about perseverance!=
=3D
=3D20
=3D20
The article only mentions ceramics=3D2C is more focused on the jewelry aspe=
ct=3D
of the show=3D2C but is a testimony to the artist in all of us. And...wh=
er=3D
e else can you read an article that uses the word "susurration" in a senten=
=3D
ce!
=3D20
http://www.ornamentmagazine.com/features_35_3_smithsonian-craft-show.php
Irene A. LawsonCuster=3D2C WA =3D
Carole Fox on tue 10 apr 12
And Eric Serritella will be there. Clayarters may remember him from the
Philly NCECA where he made lovely tea for us in the clayart room. His birch
bark teaware is pretty awesome... www.ericserritella.com
On Tue, Apr 10, 2012 at 12:19 PM, Irene A. Wytzka Lawson <
custerlawsons@msn.com> wrote:
> This is a wonderful article about the current Smithsonian show, well wort=
h
> a read. A FB friend of mine, a fabulous jeweler, Michael Romanik was
> accepted after 17 consecutive years of applying! Talk about perseverance=
!
>
> The article only mentions ceramics, is more focused on the jewelry aspect
> of the show, but is a testimony to the artist in all of us. And...where
> else can you read an article that uses the word "susurration" in a senten=
ce!
>
> http://www.ornamentmagazine.com/features_35_3_smithsonian-craft-show.php
>
> Irene A. LawsonCuster, WA
--
Carole Fox
Silver Fox Pottery
Elkton, MD
silverfoxpottery@gmail.com
www.silverfoxpottery.com
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