becky schroeder on fri 18 jan 02
>
>Art,
> I've seen people take pottery classes to use as their own personal cheap
>studios. It is not fair to the kids who really want to learn.
i agreed with the above post but i must say i did that for a whole year
because it was never pointed out to me that that was inappropriate and
tacky. as soon as the instructor mentioned it in a general way and not to
me in particular (there were several of us) i thought about it and decided
he was right. only then did i set up my own studio. maybe people just
don't GET IT and need to be told.
becky schroeder
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Marsh Pottery on fri 18 jan 02
Art,
I've seen people take pottery classes to use as their own personal cheap
studios. It is not fair to the kids who really want to learn. These people
use clay, glazes & firing space so they can SELL their stuff... They are
not there to learn a process - but to produce products. Let them go rent
studio space, buy their own materials and pay for firing (kiln, gas or
electricity) just like the rest of us have to. In my considered opinion,
they are equivalent to thieves.
Because of this problem, our local college now limits each student to 25
Lbs/semester & fires only what's made in class. And they upped the lab fee
because funds are always tight.
Marsha
Lee Love on sat 19 jan 02
----- Original Message -----
From: "Marsh Pottery"
> Because of this problem, our local college now limits each student to 25
> Lbs/semester & fires only what's made in class. And they upped the lab fee
> because funds are always tight.
Not going to make much "product" with 25 lbs of clay. :^)
--
Lee In Mashiko, Japan Ikiru@kami.com
"We can only wait here, where we are in the world, obedient to its processes,
patient in its taking away, faithful to its returns. And as much as we may
know, and all that we deserve of earthly paradise will come to us."
Wendell Berry , Full Quote: http://www1.ocn.ne.jp/~ikiru/berry.html
Andi Fasimpaur on sat 19 jan 02
At 05:59 PM 1/18/02 -0700, you wrote:
>>Art,
>> I've seen people take pottery classes to use as their own personal cheap
>>studios. It is not fair to the kids who really want to learn.
>
>
>i agreed with the above post but i must say i did that for a whole year
>because it was never pointed out to me that that was inappropriate and
>tacky. as soon as the instructor mentioned it in a general way and not to
>me in particular (there were several of us) i thought about it and decided
>he was right. only then did i set up my own studio. maybe people just
>don't GET IT and need to be told.
>
>becky schroeder
I worked in a publicly supported clay studio for a couple of years before
setting up my own studio... I spoke with the clay coordinator on a
periodic basis to ensure that my production was not placing a burden
on the facility... they had posted guidelines about how much volume
was considered "PRODUCTION" and those who exceeded those
guidelines were encouraged (strongly) to pay for their firings according
to the price list that was posted... I never came close (advantage to
working small I guess...) I paid a $6/day lab fee, and bought my clay
from the facility at a price that was almost double the cost from the
local supply house (Firing and Glazes were "included in the cost of
the clay")... Once in a while, especially when I want to do some work
with larger slabs or want to spread out a bit more than I can at home,
I go in and pay the lab fee and work for a day...
What I learned there has proven invaluable... it's a great opportunity
to interact with other clay artists at all levels of development... Potters
are some of the most wonderful people to just hang out with... Working
in your own studio, without the connection to other potters can be
a less than enjoyable experience for some people... some of us need
the periodic connection to others, for some it is a springboard to new
creativity... I'd take classes or workshops to get that connection, but
none of the local facilities offer anything that I'm interested in taking,
and the cost of traveling for workshops is, for now, prohibitive...
I honestly believe that loneliness is one of the things that keeps people
from setting up their own studios as soon as they are able... I don't
think that it's always a desire to sponge off of subsidized facilities.
Toodles,
Andi.
Bobbruch1@AOL.COM on sun 20 jan 02
I was a "special student" at a local art institute and I wanted to give my
perspective on that situation. The clay program has often had one somewhat
older student taking daytime classes. Without going into the myriad of
benefits that the situation provided for me, I would assume that people in my
situation provided a benefit to the program, or else the situation would not
have been allowed to occur. I was also acutely aware of the beneficial
situation that I was in, and tried to make sure that I didn't step on
anyone's toes.
I was self-taught in clay and was working in a ceramics coop that I had
helped create. I then left a full time job, and had a window of opportunity
to explore ceramics. I met with the faculty & explained in what areas I felt
that I needed technical help. They had me bring in examples of my portfolio,
and then assigned me to an elective's class. When they saw how serious I
was, I was allowed to work in the clay majors' room. I remained there for 3.5
years and went through the program with the group that started at the same
time that I did. Didn't get a degree, cause I had several including an MBA,
and I would have to spend time taking courses like Freshman Anthropology
which I thought to be irrelevant to that point in my life. Also, I was told
that I could get into an MFA program on the strength of my portfolio - so I
felt that the BFA wasn't a necessity - actually getting a graduate degree in
nonprofit management instead.
Several other "special students" have been there since I left, and again I
assume that the faculty and the school feels there to be advantages or this
process wouldn't have continued. What benefits would someone in my situation
provide? For one, many art students are in need of financial aid, loans,
etc., and I was able to cover the cost of the classes on a "pay as you go"
basis. Also, I was married at the time, wasn't there to socialize, and really
put my nose to the grindstone, and I think that this example was seen as a
positive influence. I also got a number of comments from my fellow students
that they saw the advantages of my working in a continually flowing and
evolving series and that they hoped to be to duplicate that process at some
point in their careers. Finally, maybe because I was somewhat older than my
classmates, I felt that I was seen by some as a person with whom they could
discuss issues that they might not bring up with the faculty, and I could
make comments about their work that might not be seen as threatening because
I was "one of them" with my own set of issues and flaws in my clay work.
I didn't go to art school because I needed a studio, as I already had one. I
didn't stay because I needed a studio. When I left, I had a studio to return
to.
Bob Bruch
Date: Fri, 18 Jan 2002 17:59:01 -0700
From: becky schroeder
Subject: Re: Reply to "Kill the artists" reply
> I've seen people take pottery classes to use as their own personal cheap
>studios. It is not fair to the kids who really want to learn.
Lee Love on sun 20 jan 02
----- Original Message -----
From: "Andi Fasimpaur"
> I honestly believe that loneliness is one of the things that keeps people
> from setting up their own studios as soon as they are able... I don't
> think that it's always a desire to sponge off of subsidized facilities.
Co-ops and ceramic centers like Northern Clay, where I worked before coming to
Japan, are really good for community.
--
Lee Love In Mashiko Ikiru@kami.com
"The best pots for me are the pots that I like." --Shoji Hamada (1894-1978)
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