All Discussions Tagged 'lecture' - crafthaus2024-03-29T01:31:12Zhttp://crafthaus.ning.com/group/ecusymposiummaterialtopics/forum/topic/listForTag?tag=lecture&feed=yes&xn_auth=noDay 3: Tom Muir Lecturetag:crafthaus.ning.com,2011-04-30:2104389:Topic:2332662011-04-30T15:35:31.160ZLiz Steinerhttp://crafthaus.ning.com/profile/LizSteiner
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058036314?profile=original" target="_self"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058036314?profile=RESIZE_480x480" width="450"></img></a> <span class="font-size-1"><em>Tea Infuser</em>, sterling silver, 1991</span></p>
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<p>Our last lecture of the symposium was Tom Muir, who spoke in depth about his work. Unfortunately, I missed most of his talk, because I was busy making sure that we were ready to return work from the student exhibition, and also taking down the Art/Science Laboratory exhibition I…</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058036314?profile=original"><img width="450" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058036314?profile=RESIZE_480x480" width="450"/></a><span class="font-size-1"><em>Tea Infuser</em>, sterling silver, 1991</span></p>
<p> </p>
<p>Our last lecture of the symposium was Tom Muir, who spoke in depth about his work. Unfortunately, I missed most of his talk, because I was busy making sure that we were ready to return work from the student exhibition, and also taking down the Art/Science Laboratory exhibition I co-curated. I was able to talk to Tom a little one-on-one, where we discussed electroforming and how to maintain a properly working bath in a communal studio environment. Tom has an incredible amount of technical knowledge, and we were so fortunate that he was able to share so much of it with us at the symposium.</p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058039326?profile=original"><img width="248" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058039326?profile=RESIZE_320x320" width="248"/></a><span class="font-size-1"><em>Tea Infuser</em> on Drip Stand, sterling silver, 1993</span></p>
<p> </p>
<p>Tom is what I consider to be a metalsmith's metalsmith. Traditional, technical fabrication all the way. I can't even conceive of making some of the things he makes. He spoke a little bit about his first bench job after finishing his undergraduate degree; how he struggled and how much he learned from that experience. I think this type of thing is so important for students to hear from artists they look up to. Students sometimes need to remember that their heroes were once students themselves, and it took them many years of hard work and dedication for them to get where they are now. That brief little story Tom told about his first job is something that really stuck with me from the symposium.</p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058036864?profile=original"><img width="450" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058036864?profile=RESIZE_480x480" width="450"/></a><span class="font-size-1"><em>Tea Infuser</em> (off drip stand, open position), sterling silver, 1993</span></p>
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<p>Some of you may recall that Tom juried the Extreme Tea exhibition at the SNAG conference in Houston <span class="font-size-2">last year. I made a tea infuser, submitted and was rejected. I was a bit miffed, I think as we all are whe</span>n we get rejected, but when I saw the exhibition in person, I understood why my piece wasn't in the show. And when Tom spoke about tea infusers in his lecture, I got an even better understanding. My piece wasn't functional in the classical sense of tea infuser, which is an important criteria for Tom. I'm glad the one part of the lecture I was able to catch was how Tom got introduced to tea infusers and how they then began to make their way into his own body of work.</p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058039137?profile=original"><img width="293" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058039137?profile=RESIZE_320x320" width="293"/></a><span class="font-size-1"><em>Orchid Vase</em>, sterling silver, 1997</span></p>
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<p>Even though my work and Tom's work are quite opposite, I enjoyed the few interactions I was able to have with him. Tom's the type of person you feel like you can learn from just by standing next to him. His traditional techniques also brought a nice balance to the symposium.</p>
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<p>For more information about Tom and his work, <a href="http://personal.bgsu.edu/~tmuir/index.htm" target="_blank">you can check out his website here.</a></p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058036301?profile=original"><img width="450" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058036301?profile=RESIZE_480x480" width="450"/></a><span class="font-size-1"><em>Twin Risers</em> - Teapot, sterling silver, 2007</span></p> Day 2: Nicole Jacquard Lecturetag:crafthaus.ning.com,2011-03-03:2104389:Topic:1976302011-03-03T22:09:08.204ZLiz Steinerhttp://crafthaus.ning.com/profile/LizSteiner
<p>After all the workshops were over, everyone took a quick break before heading back to the auditorium for Nicole Jacquard's lecture, <em>Technology and the Politics of the Handmade</em>.</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058008258?profile=original" target="_self"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058008258?profile=RESIZE_1024x1024" width="750"></img></a></p>
<p><em><span class="font-size-1">Bob Ebendorf, Nicole Jacquard, and Linda Darty, photo credit Dejan Jovanovic</span></em></p>
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<p>Nicole gave a fascinating talk, and while…</p>
<p>After all the workshops were over, everyone took a quick break before heading back to the auditorium for Nicole Jacquard's lecture, <em>Technology and the Politics of the Handmade</em>.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058008258?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058008258?profile=RESIZE_1024x1024" width="750"/></a></p>
<p><em><span class="font-size-1">Bob Ebendorf, Nicole Jacquard, and Linda Darty, photo credit Dejan Jovanovic</span></em></p>
<p> </p>
<p>Nicole gave a fascinating talk, and while I have a little experience with 3-D modeling and rapid prototyping, some of the things Nicole covered were completely new to me. When Nicole gave me her brooches to put in our faculty display, and I was amazed at the colors and patterns that had actually been digitally printed onto the material. So I was super excited that she covered this process in her talk.</p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058010853?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058010853?profile=RESIZE_1024x1024" width="750"/></a></p>
<p><em><span class="font-size-1">Nicole Jacquard, Frost Pins, SLS nylon, silver</span></em></p>
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<p>Nicole uses the 3-D modeling program Rhinoceros, and exports the digital files to various types of printers. The one she uses the most is a Zcorp machine, which is able to print over a million colors. You can also project images onto the surface, which is how Nicole produces certain effects on her pieces, such as the urn pictured below. Nicole also uses Fused Deposition Modeling - where ABS plastic is extruded through a nozle that is heated and the plastic filament is bonded layer by layer as it builds up the form, Selective Laser Sintering (SLS) where a laser fuses nylon powder together (see Frost Pins, above), and a process similar to Stereo Lithography, where ultraviolet light is used to cure a photo sensitive resin.</p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058011124?profile=original"><img width="750" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1058011124?profile=RESIZE_1024x1024" width="750"/></a><em><span class="font-size-1">Nicole Jacquard, Wallpaper II and III, brooches, Zcorp and silver</span></em></p>
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<p>Nicole had great process shots in her presentation, both of making models in Rhino, and of the various printing processes she utilizes. I know a lot of metalsmiths tend to get scared off by technology being used to make work sometimes, but I think that Nicole has an excellent approach to combing both traditional metalsmithing with these new technologies. You use this type of technology because there is no other way to get this type of results. 3-D printing is just another tool at our disposal.</p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058011277?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058011277?profile=RESIZE_1024x1024" width="750"/></a></p>
<p><em><span class="font-size-1">Nicole Jacquard, Moon 4am, Zcorp</span></em></p>
<p> </p>
<p>She covered how her family, their lake house, and her Aunt's bar influenced her work. People who make work about their family always interests me. I sometimes feel like as artists we're supposed to make art about lofty social, historical, political topics and I love it when I come across an artist who is dealing with incredibly personal subject matter and putting it out there for everyone to see. It's like saying that this personal thing is just as important as commentary on the war or the environment.</p>
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<p>Nicole also talked about her time in Australia, where she earned a doctorate from RMIT, although she didn't originally intend to. She also had great process shots of this body of work which show just how much handwork still goes in to finished pieces that utilizes a 3-D printing process. Even if is cut out with a milling machine.</p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058008241?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058008241?profile=RESIZE_1024x1024" width="750"/></a></p>
<p><em><span class="font-size-1">Nicole Jacquard, Letters and Notes, Zcorp</span></em></p>
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<p>I can't speak for everyone, but she left the students at ECU <em>VERY</em> excited about the possibilities of using these technologies. We currently don't offer any type of 3-modeling which I think is a bit of a disservice to our students, especially since we have a 3-D printer on campus. Hopefully, inspiration from Nicole will help us to make steps towards intergrating some of these practices in our own program.</p>
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<p> For more on rapid prototyping and 3-D printing check out these sources:</p>
<p> </p>
<p>Red Eye Express<br/><a href="http://express.redeyeondemand.com/" target="_blank">http://express.redeyeondemand.com</a><br/> <br/>Solid Concepts<br/><a href="http://www.solidconcepts.com/" target="_blank">www.solidconcepts.com</a><br/><br/>Quick Parts<br/><span style="margin-right: 0pt;"><cite><a href="http://www.quickparts.com/" target="_blank">www.quickparts.com</a></cite></span></p> Day 2: Caroline Gore Keynote Lecturetag:crafthaus.ning.com,2011-02-03:2104389:Topic:1806192011-02-03T14:46:47.381ZLiz Steinerhttp://crafthaus.ning.com/profile/LizSteiner
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1057994949?profile=original" target="_self"><img class="align-full" height="418" src="http://storage.ning.com/topology/rest/1.0/file/get/1057994949?profile=RESIZE_1024x1024" width="630"></img></a> <a href="http://storage.ning.com/topology/rest/1.0/file/get/1057993900?profile=original" target="_self"></a></p>
<p>I was surprised and thrilled when I found out that Caroline Gore was going to be our key note speaker this year. I've been in love with her work since even before I saw her solo show during the SNAG conference in Houston. Caroline's talk <em>Shifting Tradition:…</em></p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057994949?profile=original"><img width="750" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1057994949?profile=RESIZE_1024x1024" height="418" width="630"/></a><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057993900?profile=original"></a></p>
<p>I was surprised and thrilled when I found out that Caroline Gore was going to be our key note speaker this year. I've been in love with her work since even before I saw her solo show during the SNAG conference in Houston. Caroline's talk <em>Shifting Tradition: A Journey Through Lineage</em> covered the work she completed while in graduate school here at ECU, and during several residencies including the Fiskars Residency in Finland, Bemis Center for Contemporary Arts in Omaha, Nebraska,Florence, Italy and a workshop with Ruudt Peters.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057993900?profile=original"><img width="750" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1057993900?profile=RESIZE_1024x1024" width="750"/></a></p>
<p><span class="font-size-1"><span style="color: #666666; font-family: Verdana; font-size: 11px;">Brooch: Shadowpants 2010</span><span style="color: #666666; font-family: Verdana; font-size: 11px;"><br/></span><span style="color: #666666; font-family: Verdana; font-size: 11px;">Oxidized sterling silver, gold solder, cotton, silk, thread</span><span style="color: #666666; font-family: Verdana; font-size: 11px;"><br/></span><span style="color: #666666; font-family: Verdana; font-size: 11px;">21 x 12 x 5 cm</span><span style="color: #666666; font-family: Verdana; font-size: 11px;"><br/></span><span style="color: #666666; font-family: Verdana; font-size: 11px;"><span style="color: #333333; text-decoration: none; text-align: left; letter-spacing: normal; word-spacing: normal; white-space: normal;">At Palazzo Acciaiuoli, Certosa of Galluzzo, Florence, Italy <br/>photographic reference to site observation, 2007</span></span></span></p>
<p>It was fascinating to see how much the environment affected her work. I love seeing the images next to the jewelry pieces, that direct influence. But Caroline also talked about the intangible aspects of the environment: the city noise in Florence, taking daily walks in Finland, and the storms in Omaha. One of my favorite things she spoke about was seeing moon jellies in an aquarium in Australia, lit in red. She took dozens of pictures, but didn't really do anything with them until years later. I love this example of how as an artist, you just physically and mentally collect whatever speaks to you, not knowing when or how it's going to manifest itself later. This story really resonated with me, since this sort of thing has been happening in my work for the past year or so.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057994873?profile=original"><img width="750" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1057994873?profile=RESIZE_1024x1024" height="649" width="679"/></a><span class="font-size-1"><span style="color: #666666; font-family: Verdana; font-size: 11px;">Brooch: Micro/Macro 2010</span><span style="color: #666666; font-family: Verdana; font-size: 11px;"><br/></span><span style="color: #666666; font-family: Verdana; font-size: 11px;">24K gold leaf, oxidized sterling silver, leather, bone, glass, thread</span><span style="color: #666666; font-family: Verdana; font-size: 11px;"><br/></span><span style="color: #666666; font-family: Verdana; font-size: 11px;">8 x 10.5 x 2.5 cm</span><span style="color: #666666; font-family: Verdana; font-size: 11px;"><br/></span><span style="color: #666666; font-family: Verdana; font-size: 11px;"><span style="color: #333333; text-decoration: none; text-align: left; letter-spacing: normal; word-spacing: normal; white-space: normal;">Along River Tay, Dundee, Scotland, United Kingdom<br/>photographic reference to site observation, 2007</span></span></span></p>
<p>Caroline also gave some great general advice on making work. She talked about not letting your own expectations, or those of other people get in the way of your work, and on the value of letting things go. She told us all that what we make is unique and valid and never to question that, and that authentic work sells itself. Two things I know to be true, but too often forget. She said as artists, we need to know when to shout and when to whisper, something I'm still trying to work on.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057994154?profile=original"><img width="750" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1057994154?profile=RESIZE_1024x1024" width="750"/></a><span class="font-size-1"><span style="color: #666666; font-family: Verdana; font-size: 11px;">Necklace: The Shape of Absence 2010</span><span style="color: #666666; font-family: Verdana; font-size: 11px;"><br/></span><span style="color: #666666; font-family: Verdana; font-size: 11px;">18K gold, silk ribbon, thread</span><span style="color: #666666; font-family: Verdana; font-size: 11px;"><br/></span><span style="color: #666666; font-family: Verdana; font-size: 11px;">71cm in length</span><span style="color: #666666; font-family: Verdana; font-size: 11px;"><br/></span><span style="color: #666666; font-family: Verdana; font-size: 11px;"><span style="color: #333333; text-decoration: none; text-align: left; letter-spacing: normal; word-spacing: normal; white-space: normal;">Absence: by Train & on foot, Dundee, Scotland, United Kingdom<br/>photographic reference to site observation, 2007</span></span></span></p>
<p><span style="color: #666666; font-family: Verdana; font-size: 11px;"><span style="color: #333333; text-decoration: none; text-align: left; letter-spacing: normal; word-spacing: normal; white-space: normal;"> </span></span>It was great to see all of these examples of Caroline's work, even just as images, and to hear how they came about. But I think what sticks with me the most is her attitude towards her work. You don't make work because of some class or assignment. You make work because you need it as much as you need to breathe air. And you make work about what speaks to you, whether it be your dog, or some rocks on the ground, or something you saw years ago. You don't have to make the type of work other people expect you to make. Or even what you expect yourself to make.</p>
<p> </p>
<p>I'd like to leave you with three short bullet points from my notes, which I'm going to go post up in my space. Again, these are things we know, or should know, but always bear repeating:</p>
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<p>- loosen up</p>
<p>-don't worry so much</p>
<p>-work from the core</p>
<p> </p>
<p>Thanks for reading.</p>