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Does Any One Else Miss This Nutcase?


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#21 Chris Campbell

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Posted 27 May 2014 - 02:39 PM

Might I add that neither Voulkos nor Orr could have sold anything to anyone at any price at any craft fair! :D :P B)


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#22 Mark C.

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Posted 27 May 2014 - 03:13 PM

(. I remember when he and Janet Mansfield ran nude across the stage at an NCECA..was that San Jose?)

There is a reason not to go-I always thought he looked better with his cloths on and wish he kept them on more.

Now as far as his clay mixer it was 4 feet to short. One hell of a mixer except that you had to bend over to do anything with it like dig out 200#s of clay with your hands.The intovative design was for a plus for chiroprators not potters.

My back still has a memory of thiose machines and trust me they are bad memories

I liked Paul -my brother took a clay class from him in the 60's in so -cal when he taught summers there.-I have some of those pots still.

So I do not miss the mixers and the nude ads but I did like his other ads and wheels-so its a 50/50 on the nutcase missing.

Mark


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#23 JBaymore

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Posted 27 May 2014 - 05:26 PM

A while ago I was doing some kiln consulting work for a prep school with a good ceramics program.  (BTW..... I promised that this school must remain nameless when mentioning this following fact.)  There in a corner was a large maybe 5 1/2 -  6 foot tall piece.......... instantly UNMISTAKEABLE......... a still raw green Volkous "Stack".  I was blown away that it was there.  Nice one too.  That item is incredibly valuable........ and is just sitting there in their kiln room.

 

He had done a workshop there.

 

I love that old picture of Hamada, Leach, Yanagi, Archie Bray.... and Volkous at the workshop Hamada was doing.  And the comment from Hamada to Volkous, 'you need to loosen up' (see early Volkous pots).  He took it to heart.

 

best,

 

........................john


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#24 Benzine

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Posted 27 May 2014 - 09:57 PM

John, why would that Volkous piece, never have been fired?
"Anything worth believing, is worth questioning"

#25 Colby Charpentier

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Posted 27 May 2014 - 10:02 PM

John, why would that Volkous piece, never have been fired?

 

Some programs won't fire the work, as that's part of the artistic process...



#26 Benzine

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Posted 27 May 2014 - 10:09 PM

John, why would that Volkous piece, never have been fired?

 
Some programs won't fire the work, as that's part of the artistic process...

Hmmm, interesting. It is amazing that it has lasted as long as it has, either due to someone not knowing what it is, and throwing it out, or knowing what is is and selling it. One of our state universities, discussed selling a Pollock painting, they have, simply to bring in some money. The idea didn't get far.
"Anything worth believing, is worth questioning"

#27 Babs

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Posted 28 May 2014 - 06:56 PM

Hope ther eis always someone around who appreciates what this is..Local experience a reitring teacher left very detailed research results and examples of local clays and glaze ingredients, 30 years of research. Incoming person did not know the value of this and cleared the decks!!



#28 bciskepottery

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Posted 28 May 2014 - 07:12 PM

John, why would that Volkous piece, never have been fired?

 
Some programs won't fire the work, as that's part of the artistic process...


"There in a corner was a large maybe 5 1/2 - 6 foot tall piece" -- maybe it did not fit in the kiln. Or maybe not firing demo pieces was a stipulation in the agreement to do the workshop.

#29 Benzine

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Posted 28 May 2014 - 10:11 PM

John, why would that Volkous piece, never have been fired?

 Some programs won't fire the work, as that's part of the artistic process...
"There in a corner was a large maybe 5 1/2 - 6 foot tall piece" -- maybe it did not fit in the kiln. Or maybe not firing demo pieces was a stipulation in the agreement to do the workshop.

Whoops, I kind of skipped over the dimensions. That definitely wouldn't fit in my kiln, never mind the fact, I'd have to lift it high enough for my top loader.
"Anything worth believing, is worth questioning"

#30 neilestrick

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Posted 29 May 2014 - 05:14 PM

There is a difference between things that are loosely made by skilled hands and poorly made by unskilled hands. However simple a piece may be, if it is made by skilled hands it will show an intent and confidence that unskilled hands cannot duplicate.

 

I had the opportunity to help fire John Balistreri's anagama in Denver in 1995. In that kiln were several pieces by Ken Ferguson and Don Reitz, as well as a Voulkos stack and several of his platters. The stack had already been sold to some company in Japan for tens of thousands of dollars. The platters were thick as can be, about 24 inches across, and amazing. We had a special surprise when Voulkos flew out to see the pieces when we unloaded. Really nice guy. He was clearly not in the best health at that time, but he was still making great work. And there was plenty of technical skill involved in their construction.


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#31 JBaymore

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Posted 29 May 2014 - 06:54 PM

What Neil said. :)

 

best,

 

..............john


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#32 Babs

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Posted 29 May 2014 - 08:32 PM

It's always interesting when an artist keeps moving on and his 'audience' wants him to stay where they feel comfortable.



#33 Benzine

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Posted 29 May 2014 - 10:15 PM

It's always interesting when an artist keeps moving on and his 'audience' wants him to stay where they feel comfortable.


I think that is the most apparent with musicians. Everyone just wants the "Old stuff".
"Anything worth believing, is worth questioning"

#34 CarlCravens

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Posted 30 May 2014 - 09:30 AM

Might I add that neither Voulkos nor Orr could have sold anything to anyone at any price at any craft fair! :D :P B)

 

No cobalt blue?


Carl (Wichita, KS)

#35 Marcia Selsor

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Posted 01 June 2014 - 11:39 PM

Carl,
Nice to see you back here. It has been a while!
good post on abstract expressionism.
marcia

#36 CarlCravens

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Posted 02 June 2014 - 03:22 PM

Thanks, Marcia.  Was idle for 2.5 years (yay, firing logs)... spent most of it thinking, "you know, I really ought to throw more bowls" every time I had to use a factory-made one.

 

I don't really "get" a lot of ceramic art.  I guess I'm craft-fair attendee material.  I don't like Voulkos' "Stacks" and don't see why anybody would pay serious money for them.  Not saying people *shouldn't*, just that I don't connect to it the way others do.  So a lot of the "greats" kind of confuse me... I don't see how their art made them great, and sometimes I suspect it wasn't the art but the person and the situation around their art (political statements, etc.)

 

I'm a functional kind of guy.  I want pots that are useful, and given a choice, I'll choose the pots that are pleasant to look at, feel good in the hand, etc.  And I appreciate a lot of non-functional work... just the guys who seem to try hardest to be different are the ones I like the least.


Carl (Wichita, KS)

#37 oldlady

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Posted 02 June 2014 - 05:43 PM

thanks for being you, it is refreshing to find someone who can say what he likes and mean it. 

 

how did you feel about the pot on the cover of may ceramics monthly?  did anyone else pity the poor maker whose work got spilled on by a crappy cobalt glaze?


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#38 Bob Coyle

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Posted 02 June 2014 - 08:46 PM

Yeah Carl If I had to choose between the scarab vase and a Voulkos stack, well no contest. I think beauty trumps novelty every time.



#39 Babs

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Posted 02 June 2014 - 09:37 PM

Would Voulkos been making stacks if no one was buying them?

I'd like to think he would have, his need ?

Some artists just do what drives them, audiences don't matter.



#40 Colby Charpentier

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Posted 02 June 2014 - 11:00 PM

Yeah Carl If I had to choose between the scarab vase and a Voulkos stack, well no contest. I think beauty trumps novelty every time.

 

Vaguely confused about what we're considering to be beauty and novelty here..






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