My studio tour was featured in a travel blog. Please take a look.
Joël
Monday, June 28, 2010
Wednesday, June 23, 2010
Teapot Auction at AAW
OK, got a few facts today from Tib Shaw at AAW about the auction. Remember there is a nice catalog of all the work in the show available from AAW.
You can see all the work in the show at http://www.woodturner.org/sym/sym2010/pop/details/index.htm
41 artists invited to participate. Sonny Kamm was high bidder on 33.
Auction raised $93,700, half going to the artists, half to the POP group within AAW.
Top bid getters:
Artist Pho Winning Bid $10,000 Winning Bidder Elizabeth York
Biggs 9,000 Sonny Kamm
Zander 5,200 Sonny Kamm
Christiansen 4,200 Sonny Kamm
Ellsworth 4,000 Sonny Kamm
Heryet 4,000 Sonny Kamm
Doughtie 3,400 Sonny Kamm
Feltz 3,400 Sonny Kamm
Hatcher 3,200 Sonny Kamm
Jordan 3,200 Sonny Kamm
Sorry for the poor formatting but I am hoping timeliness will compensate for neatness.
You can see all the work in the show at http://www.woodturner.org/sym/sym2010/pop/details/index.htm
41 artists invited to participate. Sonny Kamm was high bidder on 33.
Auction raised $93,700, half going to the artists, half to the POP group within AAW.
photo by Andi Wolfe
Top bid getters:
Artist Pho Winning Bid $10,000 Winning Bidder Elizabeth York
Biggs 9,000 Sonny Kamm
Zander 5,200 Sonny Kamm
All teapot photos by Tib Shaw/AAW
Christiansen 4,200 Sonny Kamm
Ellsworth 4,000 Sonny Kamm
Heryet 4,000 Sonny Kamm
Doughtie 3,400 Sonny Kamm
Feltz 3,400 Sonny Kamm
Hatcher 3,200 Sonny Kamm
Jordan 3,200 Sonny Kamm
Sorry for the poor formatting but I am hoping timeliness will compensate for neatness.
Instant Gallery Critique at AAW
The following was prepared by Richard Hogue, one of our members, for attendees of the Instant Gallery Critique at AAW in Hartford.
In addition to Richard, this year the other participants were Terry Martin and Marilyn Campbell. They spent the better part of a day looking at all 1000 items in the Instant Gallery and selected two for purchase by the AAW for their permanent collection and another half dozen that were given awards of excellence. They then spent an hour and half on Sunday discussing these and a dozen other works that they found interesting.
I hope to have images at some future date.
As always, it was one of the highlights of the conference.
“Questions a Collector Might Ask” by Richard Hogue
What is my first impression of the work? Is there a “wow factor” in the form, composition, decoration or technique (how did the artist do it?)? What is especially pleasing, attractive, admirable or interesting to me? Is it like nothing I have ever seen before? Does it stand out from other similar objects? Is it too much like other pieces in my collection or too much like the work of another artist? How is it related to the history of turning and to the previous work of the artist? Is it original and innovative? Should I touch it or just look? Is the enjoyment I’m now having in experiencing it sufficient for me or do I want to experience it again and again?
To what extent is the material an essential component of the completed creation? Are the qualities of the species highlighted or ignored? Is the grain, figuring, spalting, flaws, voids or natural edge of special importance or is the wood primarily a canvas for the surface decoration? If a canvas, is the embellishment, if seen as a work in two dimensions, sufficiently compelling to stand on its own?
Is the form pleasing from all perspectives? Are the lines graceful and flowing or are there areas of straightness or pointiness or abrupt change that interrupt the flow? Is the species of wood appropriate to the form and to the scale of the work? Is the form well balanced or is a lack of balance a purposeful feature of the composition? Does the form draw the eye outward or inward? Does the form include negative space in a way that enhances the form or obscures it?
Does the work exhibit technical excellence or are there visible tears, bruises, tool marks or sanding lines? Is the thickness of walls consistent and appropriate to the design? Are the visible interior and underside well finished? Has the center dimple been removed? Does the work exhibit exceptional skill in using the tool or an innovative use of the lathe?
Is the work an outstanding example of the marriage of undecorated material to simple form or has the greater creativity been devoted to the surface treatment of the work? Is the carving or texturing or piercing effective in enhancing the quality of the wood or accentuating the form? Are repeated patterns consistent? Are there shadows, reflections or other patterns of light that create added interest? Does the surface embellishment seem too understated or too overdone or just right? Is it integral to the work as a whole? Is the finish appropriate to the form, to the surface treatment and to the intent of the artist? Does the finish complement or compete?
If color or ebonizing or burning have been used, what seems to be the artist’s intent? To accent a particular feature or to enhance the grain? To add interest to an otherwise dull material? To obscure the wood so as to draw attention to the form? To increase movement and animation? To evoke an emotional response? Has the apparent intent been successfully achieved?
Does the work refer to something I know or have experienced? Is the reference so obvious as to be uninteresting or so obscure as to be irrelevant? Does it refer to more than one thing? Is there an element of mystery as well as of familiarity? Does the reference have a universal quality or will it be appealing to only a limited group of viewers? Does the work make a statement or tell a story? Is there a clue to the reference in the title of the work?
Does the finished work have integrity? Is each element properly scaled to the other elements? Is the work consistently turbulent/chaotic or serene/graceful or simply confused? Do material, form and decoration seem in balance? If the piece is lidded, is the lid appropriately complementary to the piece or is it too heavy, too large, or too different? Is the base of the piece proportional, integral and practical? Does it relate to the lid or to other components of the piece? Is it too minimal or too massive?
How would I display this work and where could I put it? Does it belong on the table top, the shelf or the pedestal? Does it require a certain kind of lighting? Does the artist have a preference regarding display? Is it meant to be picked up or should it be secured to its place with museum wax?
In addition to Richard, this year the other participants were Terry Martin and Marilyn Campbell. They spent the better part of a day looking at all 1000 items in the Instant Gallery and selected two for purchase by the AAW for their permanent collection and another half dozen that were given awards of excellence. They then spent an hour and half on Sunday discussing these and a dozen other works that they found interesting.
I hope to have images at some future date.
As always, it was one of the highlights of the conference.
“Questions a Collector Might Ask” by Richard Hogue
What is my first impression of the work? Is there a “wow factor” in the form, composition, decoration or technique (how did the artist do it?)? What is especially pleasing, attractive, admirable or interesting to me? Is it like nothing I have ever seen before? Does it stand out from other similar objects? Is it too much like other pieces in my collection or too much like the work of another artist? How is it related to the history of turning and to the previous work of the artist? Is it original and innovative? Should I touch it or just look? Is the enjoyment I’m now having in experiencing it sufficient for me or do I want to experience it again and again?
To what extent is the material an essential component of the completed creation? Are the qualities of the species highlighted or ignored? Is the grain, figuring, spalting, flaws, voids or natural edge of special importance or is the wood primarily a canvas for the surface decoration? If a canvas, is the embellishment, if seen as a work in two dimensions, sufficiently compelling to stand on its own?
Is the form pleasing from all perspectives? Are the lines graceful and flowing or are there areas of straightness or pointiness or abrupt change that interrupt the flow? Is the species of wood appropriate to the form and to the scale of the work? Is the form well balanced or is a lack of balance a purposeful feature of the composition? Does the form draw the eye outward or inward? Does the form include negative space in a way that enhances the form or obscures it?
Does the work exhibit technical excellence or are there visible tears, bruises, tool marks or sanding lines? Is the thickness of walls consistent and appropriate to the design? Are the visible interior and underside well finished? Has the center dimple been removed? Does the work exhibit exceptional skill in using the tool or an innovative use of the lathe?
Is the work an outstanding example of the marriage of undecorated material to simple form or has the greater creativity been devoted to the surface treatment of the work? Is the carving or texturing or piercing effective in enhancing the quality of the wood or accentuating the form? Are repeated patterns consistent? Are there shadows, reflections or other patterns of light that create added interest? Does the surface embellishment seem too understated or too overdone or just right? Is it integral to the work as a whole? Is the finish appropriate to the form, to the surface treatment and to the intent of the artist? Does the finish complement or compete?
If color or ebonizing or burning have been used, what seems to be the artist’s intent? To accent a particular feature or to enhance the grain? To add interest to an otherwise dull material? To obscure the wood so as to draw attention to the form? To increase movement and animation? To evoke an emotional response? Has the apparent intent been successfully achieved?
Does the work refer to something I know or have experienced? Is the reference so obvious as to be uninteresting or so obscure as to be irrelevant? Does it refer to more than one thing? Is there an element of mystery as well as of familiarity? Does the reference have a universal quality or will it be appealing to only a limited group of viewers? Does the work make a statement or tell a story? Is there a clue to the reference in the title of the work?
Does the finished work have integrity? Is each element properly scaled to the other elements? Is the work consistently turbulent/chaotic or serene/graceful or simply confused? Do material, form and decoration seem in balance? If the piece is lidded, is the lid appropriately complementary to the piece or is it too heavy, too large, or too different? Is the base of the piece proportional, integral and practical? Does it relate to the lid or to other components of the piece? Is it too minimal or too massive?
How would I display this work and where could I put it? Does it belong on the table top, the shelf or the pedestal? Does it require a certain kind of lighting? Does the artist have a preference regarding display? Is it meant to be picked up or should it be secured to its place with museum wax?
Tuesday, June 22, 2010
Joël Urruty Show at the Hickory Museum of Art
Hi All I wanted to post some photos of the exhibit. The reception was last Saturday and there was a great turn out and it seems like everyone had a great time. I know I did.
Joël
www.joelurruty.com
International Turning Exchange News
As I am sure most of you know the Wood Turning Center sponsors a residency program each summer for a handful of artists as well as a photojournalist and scholar. To see bios on this years participants visit the Wood Turning Center website.
To see a blog about life in the ITE and their adventures please type the link below.
http://internationalturningexchange.wordpress.com/
To see a blog about life in the ITE and their adventures please type the link below.
http://internationalturningexchange.wordpress.com/
Monday, June 21, 2010
AAW Bulletin
Go to woodturner.org to read the announcement but Mary Lacer, AAW's longtime administrator and director will be stepping down. Mary has been instrumental in helping the AAW grow to 14,000 members and instituting lots of programs/services there. I'm sure many of you know her and would like to wish her well.
AAW News
The AAW Symposium concluded yesterday in Hartford, CT. For collectors there was a tremendous amount of work to see and over the next few days I'll try and recap and track down as many photos as I can or at least find a place for you to link to.
The highlight of the weekend was the Teapot auction to benefit the Professional Outreach Program within AAW. Approximately 36 artists were invited to make teapots for this exhibition/auction. The work was outstanding. There is a fine small full color catalog you can purchase for $10 available from the AAW. The real big news is that the auction turned out to be a buying bonanza for a teapot collector.
I wasn't there so this is heresay but Sonny Kamm via phone purchased 30 of the 36 teapots.
The Saturday night auction included some nice work and pieces sold from a few hundred dollars up to $5000. Again, I'll try and get some real images/prices directly from AAW when they get a chance to recover from putting on a very well done conference.
The Instant Gallery remains the largest display of wood art in this country. There was lots of good work displayed. I think there was a fair amount of buying. Bob Bohlen did a walk thru on Friday and I understand he is putting together a travelling collection.
Lastly, I want to thank all the members who stopped by the CWA session on Friday night. It was the best attended session I have seen to date with some great ideas about what we are doing well and areas where we might want to focus.
For another point of view you might want to check out Andi Wolfe's blog. She posted every day, is a great photographer and I'll bet she gets some great pictures up in the next day or two.
(Andi just wrote that we can find her blog at
http://andiwolfe.blogspot.com
Here are the relevant "live" posts:
http://andiwolfe.blogspot.com/2010/06/2010-aaw-symposium-thursday-report.html
http://andiwolfe.blogspot.com/2010/06/2010-aaw-symposium-friday-report.html
http://andiwolfe.blogspot.com/2010/06/2010-aaw-symposium-saturday-report.html
http://andiwolfe.blogspot.com/2010/06/2010-aaw-symposium-saturday-report.html )
I'm in the process of culling pictures from the thousand or so I took during the symposium. I'll be updating my blog as I narrow down the selection.
If you bought something maybe you'd like to share with the rest of us and post a picture/story.
Let me know and I'll help you post your first story. If I can do this stuff, I'm positive the rest of you will do it better/faster.
Gotta go unpack the goodies I bought. Check back here frequently.
The highlight of the weekend was the Teapot auction to benefit the Professional Outreach Program within AAW. Approximately 36 artists were invited to make teapots for this exhibition/auction. The work was outstanding. There is a fine small full color catalog you can purchase for $10 available from the AAW. The real big news is that the auction turned out to be a buying bonanza for a teapot collector.
I wasn't there so this is heresay but Sonny Kamm via phone purchased 30 of the 36 teapots.
The Saturday night auction included some nice work and pieces sold from a few hundred dollars up to $5000. Again, I'll try and get some real images/prices directly from AAW when they get a chance to recover from putting on a very well done conference.
The Instant Gallery remains the largest display of wood art in this country. There was lots of good work displayed. I think there was a fair amount of buying. Bob Bohlen did a walk thru on Friday and I understand he is putting together a travelling collection.
Lastly, I want to thank all the members who stopped by the CWA session on Friday night. It was the best attended session I have seen to date with some great ideas about what we are doing well and areas where we might want to focus.
For another point of view you might want to check out Andi Wolfe's blog. She posted every day, is a great photographer and I'll bet she gets some great pictures up in the next day or two.
(Andi just wrote that we can find her blog at
http://andiwolfe.blogspot.com
Here are the relevant "live" posts:
http://andiwolfe.blogspot.com/2010/06/2010-aaw-symposium-thursday-report.html
http://andiwolfe.blogspot.com/2010/06/2010-aaw-symposium-friday-report.html
http://andiwolfe.blogspot.com/2010/06/2010-aaw-symposium-saturday-report.html
http://andiwolfe.blogspot.com/2010/06/2010-aaw-symposium-saturday-report.html )
I'm in the process of culling pictures from the thousand or so I took during the symposium. I'll be updating my blog as I narrow down the selection.
If you bought something maybe you'd like to share with the rest of us and post a picture/story.
Let me know and I'll help you post your first story. If I can do this stuff, I'm positive the rest of you will do it better/faster.
Gotta go unpack the goodies I bought. Check back here frequently.
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