Many of us claim to be bored and disinterested about the Art and Craft
thing. We often feel a need to disclaim any interest in this tiresome
non sequitur and feel we must apologize for posting about a
'non-problem'. We dissemble and distance ourselves, but we sure keep on
bringing the subject up. Why won't it fade away? Maybe this was
answered in Art 101, but not all of us took the course.

Draw you own conclusions, but perhaps one reason is that as woodturners
increase in number and decrease in age, their view becomes less limited,
and their attitudes are more proactive or at least, less reactive.

Another thing that those fluent in 'Art Speak' know that I don't is why
art doesn't progress. Science and most human endeavors progress, but
art doesn't. I mean Barry's Husky and George's Nova are far better
machines than ancient foot lathes, but the vases of today don't seem any
better than Keat's Grecian Urns. Paintings of distorted wris****ches and
soup cans, although different, don't really represent progress from the
treasures painted on old walls and ceilings of Rome. Same with classical
music.

To pick up on William Noble's terse challenge on another thread, I
wonder if repeats of a piece of creative art, although turned by the
original artist, are truly art or mere reproductions. Can the signature
work of a turner-artist, even if the repeats exceed his original
creation, be art? Can an artist plagiarize himself? Our lawyers will
know, but I bet the rest of us don't.
***********************************************

***********************************************
I'll go ahead and post this much since I started it, but after seeing
the pictures tonight of the Sugar Bowl, to continue musing about art and
turned wood bowls seems crass and importune. Better to offer prayers
and sympathetic understanding for our Gulf Coast neighbors.....and to
Send Help.
***********************************************


Turn to Safety, Arch
Fortiter



http://community.webtv.net/almcc/MacsMusings

Arch wrote:
Many of us claim to be bored and disinterested about the Art and Craft
thing. We often feel a need to disclaim any interest in this tiresome
non sequitur and feel we must apologize for posting about a
'non-problem'. We dissemble and distance ourselves, but we sure keep o=
n
bringing the subject up. Why won't it fade away? Maybe this was
answered in Art 101, but not all of us took the course.=20

What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?

Draw you own conclusions, but perhaps one reason is that as woodturners=

increase in number and decrease in age, their view becomes less limited=
,
and their attitudes are more proactive or at least, less reactive.

And, happy melodist, unweari-ed,
Forever piping songs forever new;

and...

When old age shall this generation waste,
Thou shalt remain, in midst of other woe

Another thing that those fluent in 'Art Speak' know that I don't is why=

art doesn't progress.=20

Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;



Science and most human endeavors progress, but
art doesn't. =20

Forever warm and still to be enjoyed,
Forever panting, and forever young;

I mean Barry's Husky and George's Nova are far better
machines than ancient foot lathes, but the vases of today don't seem an=
y
better than Keat's Grecian Urns.=20

Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:

Paintings of distorted wris****ches and
soup cans, although different, don't really represent progress from the=

treasures painted on old walls and ceilings of Rome. Same with classica=
l
music.


Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands dressed?

=20
To pick up on William Noble's terse challenge on another thread, I
wonder if repeats of a piece of creative art, although turned by the
original artist, are truly art or mere reproductions. Can the signatur=
e
work of a turner-artist, even if the repeats exceed his original
creation, be art? Can an artist plagiarize himself? Our lawyers will
know, but I bet the rest of us don't.


Than ours, a friend to man, to whom thou say'st,
"Beauty is truth, truth beauty"---that is all
Ye know on earth, and all ye need to know.


***********************************************
=20
***********************************************
I'll go ahead and post this much since I started it, but after seeing
the pictures tonight of the Sugar Bowl, to continue musing about art an=
d
turned wood bowls seems crass and importune. Better to offer prayers
and sympathetic understanding for our Gulf Coast neighbors.....and to
Send Help.
***********************************************
=20
=20
Turn to Safety, Arch =20
Fortiter
=20
=20
=20
http://community.webtv.net/almcc/MacsMusings
=20


http://www.eecs.harvard.edu/~keith/poems/urn.html


--=20
Will R.
Jewel Boxes and Wood Art
http://woodwork.pmccl.com
The power of accurate observation is commonly called cynicism by those=20
who have not got it.=94 George Bernard Shaw

Hi Will, ...and with thy spirit... and also with you...


Turn to Safety, Arch
Fortiter



http://community.webtv.net/almcc/MacsMusings

Arch wrote:
Hi Will, ...and with thy spirit... and also with you...
=20
=20
Turn to Safety, Arch =20
Fortiter
=20
=20
=20
http://community.webtv.net/almcc/MacsMusings
=20


I though that of all people you would have a detailed reply... :-)

Off to the shop.


--=20
Will R.
Jewel Boxes and Wood Art
http://woodwork.pmccl.com
The power of accurate observation is commonly called cynicism by those=20
who have not got it.=94 George Bernard Shaw

I have a friend turning and selling bowls in the $2000.00 - $5000.00 range.
He doesn't give a crap weather they are art or craft as long as people buy
them.

The stuff I turn would be considered craft or should I say crap:-) Turning
does quiet the voices in my head!

cm


..
"WillR" wrote in message
.. .
Arch wrote:
Many of us claim to be bored and disinterested about the Art and Craft
thing. We often feel a need to disclaim any interest in this tiresome
non sequitur and feel we must apologize for posting about a
'non-problem'. We dissemble and distance ourselves, but we sure keep on
bringing the subject up. Why won't it fade away? Maybe this was
answered in Art 101, but not all of us took the course.

What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?

Draw you own conclusions, but perhaps one reason is that as woodturners
increase in number and decrease in age, their view becomes less limited,
and their attitudes are more proactive or at least, less reactive.

And, happy melodist, unweari-ed,
Forever piping songs forever new;

and...

When old age shall this generation waste,
Thou shalt remain, in midst of other woe

Another thing that those fluent in 'Art Speak' know that I don't is why
art doesn't progress.

Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;



Science and most human endeavors progress, but
art doesn't.

Forever warm and still to be enjoyed,
Forever panting, and forever young;

I mean Barry's Husky and George's Nova are far better
machines than ancient foot lathes, but the vases of today don't seem any
better than Keat's Grecian Urns.

Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:

Paintings of distorted wris****ches and
soup cans, although different, don't really represent progress from the
treasures painted on old walls and ceilings of Rome. Same with classical
music.


Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands dressed?


To pick up on William Noble's terse challenge on another thread, I
wonder if repeats of a piece of creative art, although turned by the
original artist, are truly art or mere reproductions. Can the signature
work of a turner-artist, even if the repeats exceed his original
creation, be art? Can an artist plagiarize himself? Our lawyers will
know, but I bet the rest of us don't.


Than ours, a friend to man, to whom thou say'st,
"Beauty is truth, truth beauty"---that is all
Ye know on earth, and all ye need to know.


***********************************************

***********************************************
I'll go ahead and post this much since I started it, but after seeing
the pictures tonight of the Sugar Bowl, to continue musing about art and
turned wood bowls seems crass and importune. Better to offer prayers
and sympathetic understanding for our Gulf Coast neighbors.....and to
Send Help.
***********************************************

Turn to Safety, Arch Fortiter



http://community.webtv.net/almcc/MacsMusings



http://www.eecs.harvard.edu/~keith/poems/urn.html


--
Will R.
Jewel Boxes and Wood Art
http://woodwork.pmccl.com
The power of accurate observation is commonly called cynicism by those
who have not got it.” George Bernard Shaw

cm wrote:
I have a friend turning and selling bowls in the $2000.00 - $5000.00 range.
He doesn't give a crap weather they are art or craft as long as people buy
them.

First time I've ever heard of someone turning solid gold. Does he have a
Web site? I'd very much like to see his work!

Owen Davies

Hi cm, thanks for responding. We all care about art/craft, one take or
another.

I imagine that your friend cares that his work is perceived as art by
the _buyer, whether or not it's finely crafted. In usual turner-buyer
dealings in that price range for a bowl, I think a normal buyer would
see the bowl as a work of art or if not, turned by a famous person. Even
then, the turner's fame would partially rest on being known as an
artist.


Turn to Safety, Arch
Fortiter



http://community.webtv.net/almcc/MacsMusings

Arch
Thanks for an excuse to ramble for a bit. I am still questioning "what is
art?" Moreover, I am questioning why, as some suppose, I should like it?
There is something in the very word 'art' that carries with it the
presupposition that everyone has to like what is called art or they are a
Philistine at the very least.

Well some call rap art and say that music has progressed to a fine state. To
me that is like saying a fine piece of flush toilet plumbing has progressed
to the state of a pit latrine with greased sides to make sure you slip in.
Op art still looks like some kid doodling with a ruler and compass. On the
other hand I have a couple of Inuit prints on the wall, a print of wolves in
a winter wood, and a couple of John Lobban originals in the den from when he
was having fun with color. Very different each one of them, but somehow art.

A piece of art needs at least to evoke an emotion in the viewer. This is my
personal and very subjective approach and in some cases would determine that
a piece is 'art' to one person and "not art' to the next. However it seems
to work for me and it removes the necessity that I like each piece. For
instance I tend to prefer VerMeer to Bosch because I prefer the feelings
from VerMeer much as I prefer Bach over Wagner.

Turning brings us to a new realm. What emotions does a nicely turned and
finished piece of wood evoke, particularly in a non turner? We have known
for centuries that people respond emotionally to curves, proportions, lines,
spaces, and volumes. The subtle transitions from one curve to another can
engender feelings of peace or unrest.

While a craftsman may strive for the best surface without sanding, the
artist reaches for the surface that speaks. Progress is measured not in
finer grains of sanding not the ease of making the next skew directed v cut,
but rather the subtle difference in one curve from the next and the wonder
of it making a difference in the effect of the piece on an audience.

We progress in wood art as we develop technique and become comfortable in it
and then question, "what next?" How do I make the piece evoke emotion in the
beholder? Please note that the question is not always nor necessarily
articulated, it merely exists.

The answers are myriad and personal. For some it is a refinement of line and
volume, for others it is the incorporation of various bits of wood in
laminations of line and color. Still others will carve, burn, dimple or
otherwise change the surface. Color may be introduced by dyes or paints or
by changing the type of wood that is used.

Actually, one of the appeals of wood turning is one that may be detrimental
to art development. Turning is fast compared to most wood working. Much of
the time a fine piece of art needs a fair bit of time and consideration.
Maybe we need to be more contemplative in our pursuit of art in a quick
craft.

Thanks Arch, it is fun to ramble. How are things after the hurricane?

God bless and safe turning
Darrell Feltmate
Truro, NS Canada
www.aroundthewoods.com


--
God bless and safe turning
Darrell Feltmate
Truro, NS Canada
www.aroundthewoods.com

"Darrell Feltmate" wrote in message
news:sFpRe.220866$HI.218546@edtnps84...
A piece of art needs at least to evoke an emotion in the viewer. This is
my
personal and very subjective approach and in some cases would determine
that
a piece is 'art' to one person and "not art' to the next.

Says it all. Unfortunately, strong negative emotions evoked by strong
language in rap, and "in your face" use of objects which are designed to
offend in some art seems to be the norm, rather than the exception when it
comes to grabbing attention. Seems folks have always felt somehow that they
elevated themselves by treading on others.

Where it gets to be fun is when the "artist" has to make statements,
descriptions and apply clever titles to speak for the art, rather than
letting it speak for itself. Makes you wonder if he's really trying to fool
someone, sometimes.

George
You wrote that

"Where it gets to be fun is when the "artist" has to make statements,
descriptions and apply clever titles to speak for the art, rather than
letting it speak for itself. Makes you wonder if he's really trying to fool
someone, sometimes"

The other side of the coin is the face that critics put on the work. Some
years ago I was in Saint John, New Brunswick, attending a lecture with a
friend of mine. The lecture dealt with the gothic novels of a particular
writer who wrote under the pseudonyms of several women. While the writer
shall remain nameless, he, not she, considered himself a craftsman not an
artist although he had at one time over 275 books in print. The lecturer
considered him an artist and found a lot of symbolism and hidden meaning in
the works. While I forget the exact wording of a statement he made during
question time and just before we both left, it was under the impression of,
"This has been a facinating lecture. I wrote all of those books and did not
realize any of those things were in them. All I wanted to do was to tell a
good story."

Sometimes a nicely turned pretty piece of wood is just a nicely turned
pretty piece of wood and a pleasure to have and to hold.

--
God bless and safe turning
Darrell Feltmate
Truro, NS Canada
www.aroundthewoods.com

Arch wrote:

Draw you own conclusions, but perhaps one reason is that as
woodturners
increase in number and decrease in age, their view becomes less
limited,
and their attitudes are more proactive or at least, less reactive.

I think this is normal. While artists are somtimes discovered later in
their years and sometimes even after death, a great deal of the artists
we know have made their mark in their youth.

I think groundbreaking "art" has always been subjective, and the
mullings of those on this group simply mirror the feelings of those on
the periphery of the movement. It is easy to find examples of "art"
that were considered blasphemous at the time of their inception that
are now considered fine art by most. (Think Michaelangelo's "David",
or Rodan's "The Thinker").

Art is sometimes mistaken for "pretty" or "pleasing". If the viewer of
said work of art like it, then it fits the acceptable definition of
art. If the viewer does not, or cannot find any commendable aspect of
the artistic piece, then it certainly cannot be art in their opinion.

As we get older and our minds grow shut, we tend to hold onto things
and perceptions we understand. It is hard to think out of our own box.
We recently had Mike Hosuluk (sp?) come to our club for a demonstation
and it was more fun to watch the group than it was to watch him.

"What would make him do that?"
"Why would he do that?"
"That guy has TOO much time on his hands."
"Well, no one actually said that he sold that stuff..."

You get the picture. I do not care for his work, but I do like some of
his techniques. He is a talented turner and there was a lot to learn
there. But someone has to push the envelope way out there to
outrageous to get some inspired to try a small step towards making
something other than bowls on the lathe.

We are just now getting some newer turners in our group, and we are
fighting to keep them. I have an easily bored, restless mind, and I
turn all manner of things. I am not concerned with what others think,
although it IS nice to have approval from certain members of our club.

I think "art" in the case of our turnings is a misnomer. It has too
much impact verbally, and has certainly been overthought as a
provovative statement here. If one will notice, the people that are
unconditionally considered as artists here are the bowl, vase, and seed
pot guys that add certain unusual touches to the form to make it their
own. While their craftsmanship is unquestioned, they really never
imagined very far away from the norm of shapes and objects we find so
comfortable. That is why they are safe to call artists.

Now that we see turners making treenware on the lathe, making off
center tornadoes, bugs, and piercing, punching, coloring, painting, and
even tying pieces of some other material on their projects, it is
difficult for us to accept. (As a side bar, please note that few of
these people when met call themselves "artists".) Their work is a far
cry from 1) make a traditional shape of some sort 2) get the walls as
thin as possoble 3) sand to 12,000 grit and 4) apply multiple coats of
finish.

Personally, I get charge out of being challenged on the level of
understanding what the newer turners are trying to do with new
techniques. While it may not start a trend (which art often does by
inspiring imitation - think about that while you are turning a large
hollow form a la Mr. Ellsworth who almost single handedly introduced
the genre that is now considered "art") it is sometimes meant to do
just what it has done to our craft; to provoke the mind, challenge the
senses, cause controversy, and inspire us to be more creative.

And while I will not take the space here to quote all of Darrell
Feltmate's post, I think it was absolutely great.

Robert

PS: One more thing... nice to see some intelligent exchange on the old
group again.

Posted this to rec.woodworking and thought I'd posted it here
as well - but hadn't. It was prompted by articles etc., about
Studio Woodworkers - and marketing. Successful "artists"
make more than a""carfts persons". But if the "shop" becomes
a "studio" then you become a Studio Woodworker. If you want
to take it up a notch call yourself a Rotationist, or better yet,
a Rotationiste.

Been getting into turning. Just about any piece of wood that’s at least
3/4 inches thick and at least 4 inches long is a candidate for turning
into something - literally. And while turning the third variation of
what started with a Turned Snot-tite

see alt.binaries.pictures.woodworking for photo or
http://home.comcast.net/~charliebcz/.../Turning4.html

I had a flash of insight into how to become a Studio Woodworker, more
specifically a Turnist, Furniturist and maybe a Boxist. Woodist is just
to vague.

First, you’ve got to come up with a “style” which is easily recognized.
It can either be easily copied (gets your style out there in the public
eye and makes your “original works” more valuable, or so complicated
that no one else can figure out how to do knock offs before you come up
with your next new style).

Second, you’ve got to work in “series” or “periods” or “phases”, making
variations and variations of variations of a “concept” that fits into
your “style”. A great story about the genesis of each “series” and a
unique story about each piece, along, perhaps, with your interpretation
of its meaning, is also a good idea. If you’re going after The Art
World, skip your interpretation of a piece’s meaning - art collectors
love to interpret things and share their insights with guests at
cocktail parties. If that’s your market, better use obscure names for
each piece.

Third, you must come up with memorable names for each “piece” In a
series. The name should fit the story developed in The Second Insight.

Fourth, sign and date each piece, or at least initial it and date it.

Fifth, keep a written journal of your “work” - that will add to the
“provenance” and extracts can be included in the catalogue of each of
your shows.

Sixth, work in either rare, exotic woods OR really cheap/less expensive
very common woods - either end of the spectrum will work - if you get
out on the extremes.

Seventh, always give the dimensions of each piece in millimeters - it’s
more continental and makes things seem bigger than they actually are.
That’s if you’re in the USA. If you’re anywhere else, use inches.
Patrons love to do a little mental exercise between writing checks.

Eighth, change how you pronounce your first name - the one on your birth
certificate. It’ll stick in peoples’ minds better. Charles for example
becomes Chawls or Sharuls or Shawls.

Ninth, add some kind of accent mark to your last name to change the
emphasized syllable. Jones with a tilde over the “e” becomes jo-Nez. If
your last name is only one syllable, add a letter or two. Smith sounds
pretty common. But Smiythe on the other hand, or better yet Smipth (the
“p” Is silent, as in swimming, (sorry - lifeguard joke) will stick in
peoples heads. If all else fails, add an umlaut (sp?)

Tenth, use words that don’t go together “my work is nano-monumental” or
“has a certain dynamic repose” or “is perfectly asymetirc” or “has a
static fluidity to it”. (Worked for Lead Zepplin - but didn’t work for
Iron Butterfly). If you can’t come up with anything in english, throw in
some french. Avoid GERMAN - too guttural. If a word requires phlegm to
pronounce it correctly it’s best to skip it- unless your market is in
Germany, Austria or Belgium. Also avoid Russian - finding fonts for
your ‘exhibit” catalogue might be difficult.

Still working on Attire, Hair, Accessories and Studio Ambiance.

charlie b

charlie b wrote:
Posted this to rec.woodworking and thought I'd posted it here
as well - but hadn't. It was prompted by articles etc., about
Studio Woodworkers - and marketing. Successful "artists"
make more than a""carfts persons". But if the "shop" becomes
a "studio" then you become a Studio Woodworker. If you want
to take it up a notch call yourself a Rotationist, or better yet,
a Rotationiste.
=20
Been getting into turning. Just about any piece of wood that=92s at le=
ast
3/4 inches thick and at least 4 inches long is a candidate for turning
into something - literally. And while turning the third variation of
what started with a Turned Snot-tite=20
=20
see alt.binaries.pictures.woodworking for photo or
http://home.comcast.net/~charliebcz/.../Turning4.html
=20
I had a flash of insight into how to become a Studio Woodworker, more
specifically a Turnist, Furniturist and maybe a Boxist. Woodist is jus=
t
to vague.
=20
First, you=92ve got to come up with a =93style=94 which is easily recog=
nized.=20
It can either be easily copied (gets your style out there in the public=

eye and makes your =93original works=94 more valuable, or so complicate=
d
that no one else can figure out how to do knock offs before you come up=

with your next new style).
=20
Second, you=92ve got to work in =93series=94 or =93periods=94 or =93pha=
ses=94, making
variations and variations of variations of a =93concept=94 that fits in=
to
your =93style=94. A great story about the genesis of each =93series=94=
and a
unique story about each piece, along, perhaps, with your interpretation=

of its meaning, is also a good idea. If you=92re going after The Art
World, skip your interpretation of a piece=92s meaning - art collectors=

love to interpret things and share their insights with guests at
cocktail parties. If that=92s your market, better use obscure names fo=
r
each piece.
=20
Third, you must come up with memorable names for each =93piece=94 In a
series. The name should fit the story developed in The Second Insight.=

=20
Fourth, sign and date each piece, or at least initial it and date it.
=20
Fifth, keep a written journal of your =93work=94 - that will add to the=

=93provenance=94 and extracts can be included in the catalogue of each =
of
your shows.
=20
Sixth, work in either rare, exotic woods OR really cheap/less expensive=

very common woods - either end of the spectrum will work - if you get
out on the extremes.
=20
Seventh, always give the dimensions of each piece in millimeters - it=92=
s
more continental and makes things seem bigger than they actually are.=20
That=92s if you=92re in the USA. If you=92re anywhere else, use inches=
=2E=20
Patrons love to do a little mental exercise between writing checks.
=20
Eighth, change how you pronounce your first name - the one on your birt=
h
certificate. It=92ll stick in peoples=92 minds better. Charles for ex=
ample
becomes Chawls or Sharuls or Shawls.
=20
Ninth, add some kind of accent mark to your last name to change the
emphasized syllable. Jones with a tilde over the =93e=94 becomes jo-Ne=
z. If
your last name is only one syllable, add a letter or two. Smith sounds=

pretty common. But Smiythe on the other hand, or better yet Smipth (th=
e
=93p=94 Is silent, as in swimming, (sorry - lifeguard joke) will stick =
in
peoples heads. If all else fails, add an umlaut (sp?)
=20
Tenth, use words that don=92t go together =93my work is nano-monumental=
=94 or
=93has a certain dynamic repose=94 or =93is perfectly asymetirc=94 or =93=
has a
static fluidity to it=94. (Worked for Lead Zepplin - but didn=92t work =
for
Iron Butterfly). If you can=92t come up with anything in english, throw=
in
some french. Avoid GERMAN - too guttural. If a word requires phlegm t=
o
pronounce it correctly it=92s best to skip it- unless your market is in=

Germany, Austria or Belgium. Also avoid Russian - finding fonts for
your =91exhibit=94 catalogue might be difficult.
=20
Still working on Attire, Hair, Accessories and Studio Ambiance.
=20
charlie b


Of course Chawls...


I wear a sombrero while working on "mi botes Mexicanos", and bop along=20
to the music of Shakira...

Of course while working on my Canadiana (Parry Sound Country Style) -- I =

groove to the early Gordon Lightfoot music, wear blue jeans -- frizz=20
out my beard -- and reach for the guitar every once in awhile -- just=20
for a little inspiration. Turning to "Go-Go-Round..." is -- of course=20
-- an obvious artistic statement for my Country Style pieces...

When doing something modern and Jazzy -- I tune on the local Jazz=20
station 91.1 here and bee-bop along whether turning or making my "Trawna =

Modern" flatware pieces...

No shawl yet -- but I do have a poncho and a Warrior Style Blanket I use =

as inspiration while carving and producing my Mid West and South West=20
style pieces...

So yes the ambiance is essential for my studio. It is everything if you=20
wish to make a proper statement.

Heaven knows -- I don't think my bandsaw could function without the=20
inspiration....

And as for the carving knives. well we can leave that unsaid as we all=20
know what we mean...


The creations of Charllie B.

(A poem of no art...)

There are strange things done neath this midnite sun by the men who moil =

for art...
Our Northern shores have seen queer sites that would make your blood run =

cold...
But the queerest site I ever did see was that night on the marge of the=20
turners shop where i watched him spin that bowl...
The perfect form that lies hid beneath is what we search for e'er..

Well -- you finish it....



--=20
Will R.
Jewel Boxes and Wood Art
http://woodwork.pmccl.com
The power of accurate observation is commonly called cynicism by those=20
who have not got it.=94 George Bernard Shaw

Charlie - BEAUTIFUL! I love it.

Joe (aka Jose) Fleming - San Diego

Charlie,

Cool. I love this thread.

Much serious marketing behind that tongue-in-cheek.

Charlie you're sliding down the sluice of this addiction for more than money
and status. Keep sliding.

TomNie

"charlie b" wrote in message
...
Posted this to rec.woodworking and thought I'd posted it here
as well - but hadn't. It was prompted by articles etc., about
Studio Woodworkers - and marketing. Successful "artists"
make more than a""carfts persons". But if the "shop" becomes
a "studio" then you become a Studio Woodworker. If you want
to take it up a notch call yourself a Rotationist, or better yet,
a Rotationiste.

Been getting into turning. Just about any piece of wood that's at least
3/4 inches thick and at least 4 inches long is a candidate for turning
into something - literally. And while turning the third variation of
what started with a Turned Snot-tite

see alt.binaries.pictures.woodworking for photo or
http://home.comcast.net/~charliebcz/.../Turning4.html

I had a flash of insight into how to become a Studio Woodworker, more
specifically a Turnist, Furniturist and maybe a Boxist. Woodist is just
to vague.

First, you've got to come up with a "style" which is easily recognized.
It can either be easily copied (gets your style out there in the public
eye and makes your "original works" more valuable, or so complicated
that no one else can figure out how to do knock offs before you come up
with your next new style).

Second, you've got to work in "series" or "periods" or "phases", making
variations and variations of variations of a "concept" that fits into
your "style". A great story about the genesis of each "series" and a
unique story about each piece, along, perhaps, with your interpretation
of its meaning, is also a good idea. If you're going after The Art
World, skip your interpretation of a piece's meaning - art collectors
love to interpret things and share their insights with guests at
cocktail parties. If that's your market, better use obscure names for
each piece.

Third, you must come up with memorable names for each "piece" In a
series. The name should fit the story developed in The Second Insight.

Fourth, sign and date each piece, or at least initial it and date it.

Fifth, keep a written journal of your "work" - that will add to the
"provenance" and extracts can be included in the catalogue of each of
your shows.

Sixth, work in either rare, exotic woods OR really cheap/less expensive
very common woods - either end of the spectrum will work - if you get
out on the extremes.

Seventh, always give the dimensions of each piece in millimeters - it's
more continental and makes things seem bigger than they actually are.
That's if you're in the USA. If you're anywhere else, use inches.
Patrons love to do a little mental exercise between writing checks.

Eighth, change how you pronounce your first name - the one on your birth
certificate. It'll stick in peoples' minds better. Charles for example
becomes Chawls or Sharuls or Shawls.

Ninth, add some kind of accent mark to your last name to change the
emphasized syllable. Jones with a tilde over the "e" becomes jo-Nez. If
your last name is only one syllable, add a letter or two. Smith sounds
pretty common. But Smiythe on the other hand, or better yet Smipth (the
"p" Is silent, as in swimming, (sorry - lifeguard joke) will stick in
peoples heads. If all else fails, add an umlaut (sp?)

Tenth, use words that don't go together "my work is nano-monumental" or
"has a certain dynamic repose" or "is perfectly asymetirc" or "has a
static fluidity to it". (Worked for Lead Zepplin - but didn't work for
Iron Butterfly). If you can't come up with anything in english, throw in
some french. Avoid GERMAN - too guttural. If a word requires phlegm to
pronounce it correctly it's best to skip it- unless your market is in
Germany, Austria or Belgium. Also avoid Russian - finding fonts for
your 'exhibit" catalogue might be difficult.

Still working on Attire, Hair, Accessories and Studio Ambiance.

charlie b