Musing about art. Arrrgh! not again, Arch.

Many of us claim to be bored and disinterested about the Art and Craft thing. We often feel a need to disclaim any interest in this tiresome non sequitur and feel we must apologize for posting about a 'non-problem'. We dissemble and distance ourselves, but we sure keep on bringing the subject up. Why won't it fade away? Maybe this was answered in Art 101, but not all of us took the course.

Draw you own conclusions, but perhaps one reason is that as woodturners increase in number and decrease in age, their view becomes less limited, and their attitudes are more proactive or at least, less reactive.

Another thing that those fluent in 'Art Speak' know that I don't is why art doesn't progress. Science and most human endeavors progress, but art doesn't. I mean Barry's Husky and George's Nova are far better machines than ancient foot lathes, but the vases of today don't seem any better than Keat's Grecian Urns. Paintings of distorted wristwatches and soup cans, although different, don't really represent progress from the treasures painted on old walls and ceilings of Rome. Same with classical music.

To pick up on William Noble's terse challenge on another thread, I wonder if repeats of a piece of creative art, although turned by the original artist, are truly art or mere reproductions. Can the signature work of a turner-artist, even if the repeats exceed his original creation, be art? Can an artist plagiarize himself? Our lawyers will know, but I bet the rest of us don't.

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*********************************************** I'll go ahead and post this much since I started it, but after seeing the pictures tonight of the Sugar Bowl, to continue musing about art and turned wood bowls seems crass and importune. Better to offer prayers and sympathetic understanding for our Gulf Coast neighbors.....and to Send Help.

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Turn to Safety, Arch Fortiter

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Arch
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What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy?

And, happy melodist, unweari-ed, Forever piping songs forever new;

and...

When old age shall this generation waste, Thou shalt remain, in midst of other woe

Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on;

Forever warm and still to be enjoyed, Forever panting, and forever young;

Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme:

Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands dressed?

Than ours, a friend to man, to whom thou say'st, "Beauty is truth, truth beauty"---that is all Ye know on earth, and all ye need to know.

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Reply to
WillR

Hi Will, ...and with thy spirit... and also with you... :)

Turn to Safety, Arch Fortiter

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Arch

I though that of all people you would have a detailed reply... :-)

Off to the shop.

Reply to
WillR

I have a friend turning and selling bowls in the $2000.00 - $5000.00 range. He doesn't give a crap weather they are art or craft as long as people buy them.

The stuff I turn would be considered craft or should I say crap:-) Turning does quiet the voices in my head!

cm

What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy?

And, happy melodist, unweari-ed, Forever piping songs forever new;

and...

When old age shall this generation waste, Thou shalt remain, in midst of other woe

Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on;

Forever warm and still to be enjoyed, Forever panting, and forever young;

Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme:

Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands dressed?

Than ours, a friend to man, to whom thou say'st, "Beauty is truth, truth beauty"---that is all Ye know on earth, and all ye need to know.

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Reply to
cm

First time I've ever heard of someone turning solid gold. Does he have a Web site? I'd very much like to see his work!

Owen Davies

Reply to
Owen Davies

Hi cm, thanks for responding. We all care about art/craft, one take or another. :)

I imagine that your friend cares that his work is perceived as art by the _buyer, whether or not it's finely crafted. In usual turner-buyer dealings in that price range for a bowl, I think a normal buyer would see the bowl as a work of art or if not, turned by a famous person. Even then, the turner's fame would partially rest on being known as an artist.

Turn to Safety, Arch Fortiter

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Arch

Arch Thanks for an excuse to ramble for a bit. I am still questioning "what is art?" Moreover, I am questioning why, as some suppose, I should like it? There is something in the very word 'art' that carries with it the presupposition that everyone has to like what is called art or they are a Philistine at the very least.

Well some call rap art and say that music has progressed to a fine state. To me that is like saying a fine piece of flush toilet plumbing has progressed to the state of a pit latrine with greased sides to make sure you slip in. Op art still looks like some kid doodling with a ruler and compass. On the other hand I have a couple of Inuit prints on the wall, a print of wolves in a winter wood, and a couple of John Lobban originals in the den from when he was having fun with color. Very different each one of them, but somehow art.

A piece of art needs at least to evoke an emotion in the viewer. This is my personal and very subjective approach and in some cases would determine that a piece is 'art' to one person and "not art' to the next. However it seems to work for me and it removes the necessity that I like each piece. For instance I tend to prefer VerMeer to Bosch because I prefer the feelings from VerMeer much as I prefer Bach over Wagner.

Turning brings us to a new realm. What emotions does a nicely turned and finished piece of wood evoke, particularly in a non turner? We have known for centuries that people respond emotionally to curves, proportions, lines, spaces, and volumes. The subtle transitions from one curve to another can engender feelings of peace or unrest.

While a craftsman may strive for the best surface without sanding, the artist reaches for the surface that speaks. Progress is measured not in finer grains of sanding not the ease of making the next skew directed v cut, but rather the subtle difference in one curve from the next and the wonder of it making a difference in the effect of the piece on an audience.

We progress in wood art as we develop technique and become comfortable in it and then question, "what next?" How do I make the piece evoke emotion in the beholder? Please note that the question is not always nor necessarily articulated, it merely exists.

The answers are myriad and personal. For some it is a refinement of line and volume, for others it is the incorporation of various bits of wood in laminations of line and color. Still others will carve, burn, dimple or otherwise change the surface. Color may be introduced by dyes or paints or by changing the type of wood that is used.

Actually, one of the appeals of wood turning is one that may be detrimental to art development. Turning is fast compared to most wood working. Much of the time a fine piece of art needs a fair bit of time and consideration. Maybe we need to be more contemplative in our pursuit of art in a quick craft.

Thanks Arch, it is fun to ramble. How are things after the hurricane?

God bless and safe turning Darrell Feltmate Truro, NS Canada

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Reply to
Darrell Feltmate

Says it all. Unfortunately, strong negative emotions evoked by strong language in rap, and "in your face" use of objects which are designed to offend in some art seems to be the norm, rather than the exception when it comes to grabbing attention. Seems folks have always felt somehow that they elevated themselves by treading on others.

Where it gets to be fun is when the "artist" has to make statements, descriptions and apply clever titles to speak for the art, rather than letting it speak for itself. Makes you wonder if he's really trying to fool someone, sometimes.

Reply to
George

George You wrote that

"Where it gets to be fun is when the "artist" has to make statements, descriptions and apply clever titles to speak for the art, rather than letting it speak for itself. Makes you wonder if he's really trying to fool someone, sometimes"

The other side of the coin is the face that critics put on the work. Some years ago I was in Saint John, New Brunswick, attending a lecture with a friend of mine. The lecture dealt with the gothic novels of a particular writer who wrote under the pseudonyms of several women. While the writer shall remain nameless, he, not she, considered himself a craftsman not an artist although he had at one time over 275 books in print. The lecturer considered him an artist and found a lot of symbolism and hidden meaning in the works. While I forget the exact wording of a statement he made during question time and just before we both left, it was under the impression of, "This has been a facinating lecture. I wrote all of those books and did not realize any of those things were in them. All I wanted to do was to tell a good story."

Sometimes a nicely turned pretty piece of wood is just a nicely turned pretty piece of wood and a pleasure to have and to hold.

Reply to
Darrell Feltmate

Arch wrote:

Reply to
nailshooter41

Posted this to rec.woodworking and thought I'd posted it here as well - but hadn't. It was prompted by articles etc., about Studio Woodworkers - and marketing. Successful "artists" make more than a""carfts persons". But if the "shop" becomes a "studio" then you become a Studio Woodworker. If you want to take it up a notch call yourself a Rotationist, or better yet, a Rotationiste.

Been getting into turning. Just about any piece of wood that?s at least

3/4 inches thick and at least 4 inches long is a candidate for turning into something - literally. And while turning the third variation of what started with a Turned Snot-tite

see alt.binaries.pictures.woodworking for photo or

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I had a flash of insight into how to become a Studio Woodworker, more specifically a Turnist, Furniturist and maybe a Boxist. Woodist is just to vague.

First, you?ve got to come up with a ?style? which is easily recognized. It can either be easily copied (gets your style out there in the public eye and makes your ?original works? more valuable, or so complicated that no one else can figure out how to do knock offs before you come up with your next new style).

Second, you?ve got to work in ?series? or ?periods? or ?phases?, making variations and variations of variations of a ?concept? that fits into your ?style?. A great story about the genesis of each ?series? and a unique story about each piece, along, perhaps, with your interpretation of its meaning, is also a good idea. If you?re going after The Art World, skip your interpretation of a piece?s meaning - art collectors love to interpret things and share their insights with guests at cocktail parties. If that?s your market, better use obscure names for each piece.

Third, you must come up with memorable names for each ?piece? In a series. The name should fit the story developed in The Second Insight.

Fourth, sign and date each piece, or at least initial it and date it.

Fifth, keep a written journal of your ?work? - that will add to the ?provenance? and extracts can be included in the catalogue of each of your shows.

Sixth, work in either rare, exotic woods OR really cheap/less expensive very common woods - either end of the spectrum will work - if you get out on the extremes.

Seventh, always give the dimensions of each piece in millimeters - it?s more continental and makes things seem bigger than they actually are. That?s if you?re in the USA. If you?re anywhere else, use inches. Patrons love to do a little mental exercise between writing checks.

Eighth, change how you pronounce your first name - the one on your birth certificate. It?ll stick in peoples? minds better. Charles for example becomes Chawls or Sharuls or Shawls.

Ninth, add some kind of accent mark to your last name to change the emphasized syllable. Jones with a tilde over the ?e? becomes jo-Nez. If your last name is only one syllable, add a letter or two. Smith sounds pretty common. But Smiythe on the other hand, or better yet Smipth (the ?p? Is silent, as in swimming, (sorry - lifeguard joke) will stick in peoples heads. If all else fails, add an umlaut (sp?)

Tenth, use words that don?t go together ?my work is nano-monumental? or ?has a certain dynamic repose? or ?is perfectly asymetirc? or ?has a static fluidity to it?. (Worked for Lead Zepplin - but didn?t work for Iron Butterfly). If you can?t come up with anything in english, throw in some french. Avoid GERMAN - too guttural. If a word requires phlegm to pronounce it correctly it?s best to skip it- unless your market is in Germany, Austria or Belgium. Also avoid Russian - finding fonts for your ?exhibit? catalogue might be difficult.

Still working on Attire, Hair, Accessories and Studio Ambiance.

charlie b

Reply to
charlie b

Charlie - BEAUTIFUL! I love it.

Joe (aka Jose) Fleming - San Diego

Reply to
Joe Fleming

Charlie,

Cool. I love this thread.

Much serious marketing behind that tongue-in-cheek.

Charlie you're sliding down the sluice of this addiction for more than money and status. Keep sliding.

TomNie

Reply to
Tom Nie

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