[Clayart] sumi/transition

[Cyndy Littleton]

Mel,
     I just completed interviews for potential instructors for the pottery
studio I manage for a non-profit art school. I was blown away by the number
of individuals who even after 15 or 20 years of clay experience have never
mixed a glaze and have limited experience with kilns. But they are applying
for pottery instructor's positions. Yes, their pots are lovely and
functional. But where is the "potter" in these individuals?
    So this gets me back to the argument you raised regarding free rides at
the expense of pottery facilities. I split my time between a full time job
(gotta pay for my bad habits somehow), managing a studio, and working in my
own studio. The pottery studio has 8 individuals who make and sell pots but
have no interest in glaze chemistry or kiln schedules. They pay to use the
studio and expect the glazes to be ready and their stuff fired for them. (I
have spoken to several other studios and this seems to be a prevalent theme
for them as well.) For the pottery studios to be self-supporting they have
to take on individuals who are willing to pay to use the facility. However,
as you know, kilns and equipment are expensive, so studios are cautious as
to who can or will use their kilns and mix the glazes. And there is that
word that is thrown around so much it has taken on a life of its
own......LIABILITY. So rather than instruct individuals on the discipline
of being a potter, we cover our arses, do the work, and collect the fees.
Which in turn pay the utilities so the studio will be open for another day.
Is this a disservice to the art of pottery? I guess it depends on your own
goals.

Me, I am interviewing my replacement so I can finish my wood kiln and get
my own pots made. So far I am batting zero.

Cyndy

On Tue, May 15, 2018 at 8:58 AM, mel jacobson <melpots2 at visi.com> wrote:

> sumi, i am very tolerant of art centers and junior colleges
> being a transition from school, college to being a home or
> studio potter.
>
> what is happening all over the country is the folks that are
> 40-70 making the facility their studio, then going out and
> selling pots.   often the tax payer is helping make that happen.
>
> this is not a minnesota thing.
>
> how does any potter make a dollar if the folks that are
> selling down the street or at the art fair have no expenses
> to make the pots?  i know they pay to fire, supplies, but that
> is one tenth of what it costs me to support myself and my studio.
> the additional taxes on my home because of my studio is more
> 'than any of them pay in a year.
>
> what has it cost me in firing costs just to do that recent study
> with mel6...plenty.  i have to pay those bills by making and selling
> the work.
>
> and, as an educator, is makes me sick that most of the people
> using these facilites do not have a clue about clay, glaze, firing
> or technique.  ceramics monthly is their text book.
>
> but the most serious thing is.....the art centers are starting
> to control the shows and art fairs.  guess who gets first pick?
>
> i am a strong advocate for the many people that have done the
> duty, studied, made the effort to be artists and potters with
> multiple skills.  we have hundreds of people on this list who
> have dedicated their lives to making great work at their own
> expense and study.
>
> i realize that i have said many times you cannot look to others
> to make your business happen.  but, it is a very unfair advantage
> if others are getting a free ride.
>
> i just keep pounding this drum because i care so much about
> people that study, make, do the research and make their own
> work, with their own skill and brain.  that is what i support.
> always have, always will.
> mel
> a great master craftsman will always push the student out the
> door and make them swim on their own.  mr. uchida kicked my
> butt out the door and said...`melsan, go and be a great potter.`
> i have tried my entire life not to embaress him, or his memory.
>
>
> ---
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>
>
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