PARTICIPATORY SPORT FOR CRAFT ARTISTS
Hello everyone, welcome back! Many of you were busy over the Summer so let's get right back into the swing of things with a new update on what you guys have been up to!
Glad to see you all again,
Please welcome our newest crafthaus members:
The deadline for the crafthaus project grant 2012 has now passed. We received many interesting, varied personal projects for you to choose from and vote for. Project information will be posted to crafthaus the beginning of September, public voting starts September 4 and all projects remain up for voting for 15 days through September 19!
If you missed this year's deadline and want to know what this is all about ...
New Job/Opportunity Listings:
A word about "tags". What are they and what do they do for my photos online?
Theaters, concert halls, and museums are conducive to certain kinds of exchanges between art and people. These are, and will always be, critically important spaces for public participation in the arts. But meaningful exchange occurs with greater frequency in many other settings, from old breweries to planetariums, abandoned subway platforms, barges, cinemas, and community bookstores. With the proliferation of virtual spaces for arts programs, it seems now that all the world's a stage.
The new emphasis on setting is evident in the rise of site-specific festivals, growing experimentation with temporary or "pop-up" spaces, a new pattern of use of cinemas for high quality digital arts programs, and increased use of outdoor urban spaces for video presentation. It is also evident in the work of young artists who choose to curate the settings for their work as an integral part of the work itself. Inviting audiences to spaces they do not want to visit is a losing proposition, especially when they do show up and feel out of place.
Ana M. Lopez:
I proposed this series of objects based on past experiences of having developed relationships with new cities through travel. Supposing this would happen again in each new city, I was a little unsure of how long it would take to find a personal representation of place; a signifier of the city that was more individualistically based than the famous masterpieces and landmarks.
In my first city, Paris, I did indeed wonder on the first day how one person could possibly build a relationship with such a rich territory within the confines of a week and worried that the basis of my inquiry was on a flawed schedule. But in the third day, exhausted form walking, armed with an inadequate map and wandering the lesser known streets of this metropolis, I finally wended my way back to a familiar landmark: a series of contiguous arches housing retail spaces.
The collections of secular and sacred metalworking in and around Vienna were overwhelming. As a system of government, monarchies might have some issues but man-oh-man can they turn out some lavish metalwork! I am sorry to say that Cellini’s saliera was not on view and no amount of throwing my (limited) weight around got me access to it. However, Nicholas of Verdun’s altarpiece was incredibly moving and the silver cabinet of the central palace was awe-inspiring. What I always think about in such places is the hours and hours of human inventiveness and skill that went into the collected works.
Of the three cities I have visited for the You Are (the) Here project thus far, Dresden was the hardest one in which to find a representative subject. This was partly due to the close proximity of my hotel to most of the sites I was interested in seeing, which resulted in a reduced scope of experience. The Green Vault, New Green Vault and Armory were within a block of each other and flanked by other delightful collections of decorative arts. The fact that Dresden was nearly destroyed by an Allied bombing in February of 1945 meant that this city’s rich history is somewhat belied by relatively recent reconstruction. What would serve as a reminder of my experience of Dresden?
Katie Poterala's blog: First Hand
I get asked a lot about doing commissions. Although I do them, it’s a minor part of my practice. Although the majority of my experiences with commission work are positive, I’ve had at least one horrible one I can think of off the top of my head. Because of this, I sometimes get a little nervous if the client isn’t someone I know well, and my approach is often informal. I am by no means an expert on this subject, so for this topic I thought I would consult a good friend who is much more familiar with this type of work. The following Q & A is from a conversation with Logan Woodle, a metalsmith who does a lot of commission work for individuals and businesses in Myrtle Beach, SC.
I am actively engaged with the enigma that is the doorknob.
By character, it lends itself to many different representations to people and to the human condition. It shares, among them, relationships that connote: passage, safety, access, security, secrets, departure, escape or ownership. A doorknob may symbolize a barricade to one's access to another realm, something to prevent someone or something from getting in or something to keep it in. It can define a personal defense, to ward off an attack or assault. It can protect against peril, contain secrets or be used to unleash them.
"Artist Interviews" by Melissa Walter!
I went to Western Kentucky University to earn a BFA in Graphic Design. Through electives and curiosities of other studios I changed my degree to a BA in graphic design and printmaking as well as a BFA in ceramics. During the summers in college I received scholarships to participate in workshops at Penland School of Crafts, Ox-Bow School of Art, and Anderson Ranch. I graduated in 2009. At this time I had already been accepted and was currently involved in the Penland School of Crafts Core Fellowship program. I spent two years (2009-2010) at Penland living with eight other roommates, working part-time for the school, and immersed in the workshops Penland provided for their students. After Penland I moved to Marshall, NC and set up a studio in Marshall High Studios.
INTERNATIONAL Shipping Issues is one of nine presentations about shipping from the SNAG Professional Development Seminar. In this presentation, Andy Cooperman offers information on the difficulties of international shipping.
Current crafthaus online exhibition: A Glimpse of Thai Craft-Based Contemporary Art !