Robert Speirs, M.D. 766 X4450 on fri 11 apr 97
Since Vince Pitelka opened the door, I am stepping through.
This was my first NCECA and was horribly disappointed by it. I agree
that Las Vegas is a truly terrible place, but can understand that it was
not so illogical to hold the conference there.
I was so disappointed that there was nothing outside of the lecture on
^6 glazes that applied to the functional potter. There was so little
emphasis on thrown work. The demos also were about hand building as far
as I could tell. I was left feeling like there was something really
wrong with me because I could not relate to the "art" in the slides and
in the exhibitions - mostly sculptural and really "out there." The
entire week I kept wishing I had stayed home to make pots. It only
fueled my inferiority complex about being JUST a ^6 electric person.
The one saving grace for me was seeing the exquisite work of Elaine
Coleman at the library on Sahara Ave. It was really breathtaking.
I understand that I need to expand my horizons and I am trying, but
one's preferences are hard to alter - e.g. I just can't help it that I
don't like brussel sprouts or wild art. I am just a traditional kind of
person in my tastes.
Being in the company of almost 3,500 clayheads was humbling, however. I
didn't know there were so many of us since I am fairly new to clay (7
years since my first class). Also enjoyed talking to commercial
exhibitors and getting their freebies.
So, there. I've said it knowing that I will risk the wrath of those who
had a positive experience there. Someone at the Coleman studio told me
that in years past more emphasis has been put on thrown work, so knowing
that I may try to go again sometime in the future. If I hadn't heard
that, I would never consider going again.
Would also like to hear about the Clayart breakfast that I missed.
I thought I would feel better getting this off my chest, but I don't
(sigh).
Laura in Oregon
Dannon Rhudy on sat 12 apr 97
Well, it was my first - and perhaps only - visit to Las Vegas.
I cannot say that I was disappointed in Las Vegas. It is just
what it is. Glitzy and plastic and shiny and definitely
short-term (buildings there last an average of 5-7 years before
they are torn down/blown up/usually destroyed to make room for
BIGGER and SHINIER and so on.) The conference itself was
enjoyable (missed Soldner's - ahmm - exhibition? - rats!) in many
ways (my third one, only). The layout for the exhibitors and
lectures and demos was much too wide-spread in my view. Too hard/
time consuming to get from first floor to 26th to see stuff and/or
listen. Spent an awful lot of time in the elevators. I was
bemused by the pervasive slot machines, the noise, people - not
to mention smoke everywhere. I started to say that I am not a
gambler, but no one who works with clay can say that with truth.
So - I'm not a gambler with money. That part did not interest me.
But it was pretty well confined to the first couple of floors.
So was the noise. The rooms were quiet - views remarkable. The
company was great. Got to meet some people whose ideas and
attitudes I'd previously only known from the list. Thought the
clay exhibitions were filled with great stuff, mediocre stuff,
boring stuff - the usual mix, in fact. A pleasure to get to see
it, in any case. Same for presentations/symposia/demonstrations.
Good, bad, mediocre. I was not required to stay anywhere longer
than I wished. Went to visit the desert, mountains, lake. That
was very good indeed; had not seen that desert before. The rocks
were warm, the water cold, the air turqoise crystal. I learned
things. No real complaints. So next year is Fort Worth.
Everything will be cowboys and Billy Bob's Texas (world's biggest
honky tonk), and boots and hats and sherrifs and stuff. Lots of
clay. Meanwhile, back at the ranch - er, studio, work to do.
Dannon Rhudy
potter@koyote.com
----------------------------Original
message----------------------------
Since Vince Pitelka opened the door, I am stepping through.
This was my first NCECA and was horribly disappointed by it. I
agree
that Las Vegas is a truly terrible place, but can understand
that it was
not so illogical to hold the conference there.
I was so disappointed that there was nothing outside of the
lecture on
^6 glazes that applied to the functional potter. There was so
little
emphasis on thrown work. The demos also were about hand
building as far
as I could tell. I was left feeling like there was something
really
wrong with me because I could not relate to the "art" in the
slides and
in the exhibitions - mostly sculptural and really "out there."
The
entire week I kept wishing I had stayed home to make pots. It
only
fueled my inferiority complex about being JUST a ^6 electric
person.
The one saving grace for me was seeing the exquisite work of
Elaine
Coleman at the library on Sahara Ave. It was really
breathtaking.
I understand that I need to expand my horizons and I am trying,
but
one's preferences are hard to alter - e.g. I just can't help
it that I
don't like brussel sprouts or wild art. I am just a
traditional kind of
person in my tastes.
Being in the company of almost 3,500 clayheads was humbling,
however. I
didn't know there were so many of us since I am fairly new to
clay (7
years since my first class). Also enjoyed talking to commercial
exhibitors and getting their freebies.
So, there. I've said it knowing that I will risk the wrath of
those who
had a positive experience there. Someone at the Coleman studio
told me
that in years past more emphasis has been put on thrown work,
so knowing
that I may try to go again sometime in the future. If I hadn't
heard
that, I would never consider going again.
Would also like to hear about the Clayart breakfast that I
missed.
I thought I would feel better getting this off my chest, but I
don't
(sigh).
Laura in Oregon
MR MICHAEL S FLOOD on sat 12 apr 97
This was my second NCECA. I was somewhat disappointed about the
logistics, limited number of sessions, crowds, etc. There were,
however, other experiences that made up for the disappointments. .
For example, I attended the cone 6 glaze talk. The presentations
were interesting, although one of the presenters could have cut her
talk by quite a bit and still communicated the same information.
Even if some of what was said didn't apply to what I do, that session
stimulated new ideas and I wish there had been enough handouts. What
I didn't appreciate about the cone 6 session was the overcrowded,
incredibly stuffy room. I also thought it was rather self-serving of
the opulence glaze guy to have the workshop attendees scurry to his
booth to pick up the handout. That (and his self deprecating
references to his glazes) was a bit much.
The demos were enjoyable and the camera coverage helped me see the
detail work the artists were doing. I wouldn't have had both the
"Mrs. Butterworth" demo and the "Elvis demo" at the same event, since
both spent most of their time gluing and epoxying items on their work
when I was there. I probably would have substituted a demo that
showed someone actually manipulating clay for one of those. The "Mrs.
Butterworth" demo was fun to watch, as was the demo on using thin
clay slabs to create work. The guy doing the middle demo using the
thin slabs and wheel to create work was very droll.
At the previous NCECA I attended in New Orleans, Tulane University
sponsored a paper kiln firing that was fascinating to watch. It
would have been great if this NCECA had included a similar option.
Without a doubt, the exhibits at the university were the best part of
the program. My partner and I skipped the bus transportation, and
went on our own the next day. We missed the crowds and saw the work
in blessed solitude. Each of the exhibits had some true treasures--
too many to enumerate here. One of the galleries was locked and the
art department staff was generous enough to drop what they were doing
and open the gallery for us. It's too bad about the stolen work. It
was one of my favorites. The cup sale was also well worth seeing.
It was great to be able to pick up the cups, scrutinize them,
dissect the techniques used, share ideas and observations with others
snaking through the room, etc.
My heartfelt suggestion for future NCECA conferences--have multiple
sessions so that the program sessions are not so crowded. There are
so many worthwhile individuals in the clay world that people would
want to hear. I've attended conferences in other fields, and there
are usually significantly more sessions scheduled, especially when
the group numbers 3,000+ attendees.
As for Las Vegas, who cares.
Bridget McDermott Flood
Fireworks Studio
St. Louis, MO
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