In the middle ages (let's just, for the sake of argument, call this anywhere from 600-1600 AD) there were only a couple of types of art--painting and sculpture. There were many crafts including wood working (turning, carving, building), glass (stained, blown and more rarely fused), and textiles.
Today, there are many types of art. But there are a number of people, artists themselves, critics, and "experts" who insist that the only types of art are "fine" arts--painting and sculpture, and even with those avenues, these modern art snobs are quite particular about which mediums count as fine for painting--today oil and acrylic seem to pass inspection, and of course marble, metal and a plethora of other materials for sculpture get the nod as "fine."
Mediums such as watercolor, found object assemblage, paper collage, glass and woodworking are, by art snobs and academia, considered fringe elements in the art world. The irony here is that the middle ages and even the Renaissance were limited in their art. Limited by the availability of materials--paper for example was difficult to manufacture and considered a very costly item so collage would certainly have been seen as an excessive extravagance, not to mention that the availability of mass produced papers just wasn't there. Paintings were primarily done with egg tempera and this was true until the mid 1400s when the Van Eycks and a few others began dabbling in oil painting--a previously unknown medium--in fact, many of the worlds' most cherished "fine" artworks are done in tempera paint!!--a fact which art snobs seem too easily to overlook as they consider modern tempera paint and watercolor to be "less than fine."
Not only were materials far more scarce or nonexistent, the fact is that life was HARD and survival the primary focus. Flat panels of glass for stained glass works were not easily available and only a few "houses" of glass had recipes for making it--it was a difficult medium to create and those who worked with it were more often than not, also the ones who MADE the glass art. Modern manufacturing and technology has eliminated this portion of the "craft" of glass allowing the artisans who work in blown, stained and fused glass to focus more on the artistic methods and techniques of creating artworks.
Textiles were for wearing or keeping warm and occasionally, decoration. Gathering, carding, spinning, dying, weaving...all were time consuming and time in an era of dire survival, was a luxury most people did not have. Still, textiles that are "high" art do exist. One must wonder when textiles dropped off the "fine" art checklist to the mere level of craft. Does it not take as much skill, technique and artistry (albeit, different skills, techniques and artistry) to create an intricately stitched piece of black work as it does to chisel out a piece of marble? Yet textile work such as quilting (some absolutely stunning quilts are in existence and even those that aren't stunning at least require respect for the sheer amount of skill, effort and artistry to piece and quilt), embroidery, knitting are relegated to the area of "craft."
What I'm saying here is that the art world--whether that be Rome, Paris, New York or whichever location will replace New York as the center of the art world, dictates a narrow view and walks a fine line between what they call art and what they consider craft. I would posit that the painter uses as much craft--knowing what brush to choose and how to wield it, which canvas to pick and how to stretch and prepare it--as they do art to create a piece of work. The same is true of the wood turner, the glass artist, the collage artist, the found object assemblagist, the jeweler. The artist is both artist and crafter.
Thursday, May 31, 2012
Wednesday, May 30, 2012
|"Beautiful Monster" most recently on display at the Oxford Community Art Center|
May 2012 solo show (c) Stephanie Zing 2012 Used with permission. All rights reserved.
I'm sad to say that for the third time in as many years, my art studio is in boxes waiting to be unpacked. That fun begins June 1--and although I LOVED my studio in Oxford and I LOVED my studio in Middletown, I'm hoping that this third time really IS the charm and I can create my studio to be a permanent haven that reflects the look and feel I want it to--even if it takes me a while to get it there.
I plan to document this process of recreating my studio, but in the meantime, I decided I need some public commitments to keep me on track. I resolve:
1. to blog at least three times a week. Please follow my post and send me your comments and thoughts on my topics. Feedback will help keep me motivated.
2. to work on developing new venues to sell my current inventory before beginning new works. With this in mind, I'll be revising and adding items to my Etsy http://www.etsy.com/shop/BohemianArtCafe and Ebay http://myworld.ebay.com/bohemianartcafe stores (actually, I haven't had anything on either of them for a very long time--but that is going to change within the next 60 days.) I'll also be revising my website http://www.bohemianartcafe.com/.
3. to develop a strong, new art community both virtually and here in my new homeland of Florida. This includes finding a co-op where I can be a member, to find some venues for group or solo gallery shows, and to join the area art leagues. I'm very excited to meet new friends, colleagues and see what people here are working on.
These feel like important resolutions. Perhaps, since resolutions don't often get kept, setting them in the middle of the year will help me to keep them. Blogging will also help.
Have you thought of setting new resolutions mid-year? How do you keep your resolutions? I'm happy to hear any one's tips on keeping resolutions.