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Re: [Orchid] a new way to market jewelry  
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From: andy cooperman
Date: Thu Nov 13 22:28:56 2003
 
     
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    I think that it's very important to remember that in the field of
    jewelry and metalsmithing craft is integral to the success of any
    piece.  In this case, I define "craft" as the making, or execution of
    an object.  A piece that is poorly crafted will never be as
    successful in communicating a theme, idea, concept, commentary,
    observation or formal investigation as one that is well made. 

    That being said, I've encountered many objects that were very well
    made and thoughtfully designed.   While I've certainly  admired them,
    I have found very little reason to return to these objects and
    continue a dialogue or explore and investigate them more.  (Unless
    there is something overwhelmingly compelling in the very level of the
    craftsmanship itself: a mystery of precision or the particular
    perfection of a design element-- which borders, then, on drama.) 

    Conversely, I've seen conceptually driven,  topically oriented or
    thematically fueled work whose concept or  intent stimulates me but
    that is so poorly made the ideas   behind the work are  never
    communicated lucidly. On pieces conceived around formal issues or
    investigations of beauty this technical (craft)/ conceptual (art)
    disconnect is of huge import. 

    But all this is really unimportant.  Over the years I've read
    letters in publications or posts on websites bemoaning the elitist
    side of a variety of Art worlds (that's Art with a capital "A"). 
    People obviously feel marginalized by what they may consider to be
    the contrived quirkiness or obtuseness of the art school crowd. 
    Perhaps if the eternal and  overwrought argument about art vs craft
    were shelved for a few generations we could get on with things and be
    happy. The problem, as I see it, is that we place art and craft on a
    hierarchy, with craft somewhere below art. 

    If you have little interest in making objects that go beyond
    conventional (classic) ideas of beauty or composition or wish to
    explore only formal dynamics  then revel in the fineness of what you
    do.  Please don't heap on a bunch of retroactively generated themes
    or meanings to work that is really about fine craftsmanship and
    thoughtful design.  (I am in no way discounting inspiration...)  You
    simply don't need it. 

    And if you are driven to make work that is confrontative,
    challenging or intellectually thematic then for Pete's sake take some
    time and make it well.  We may be surprised, delighted and even
    transformed by your particular insight,  but we can't understand what
    you're writing about if we can't read your scrawl. 

    I realize that this has gotten far off the topic of the mass
    produced schlock that is supposed to pass for "Art" at some venues. 
    But this argument is as old as the hills and keeps coming up.  If you
    feel somehow marginalized or judged by the "Art World" than either
    stop reading "Art in America" (or whatever), make work that somehow
    fits their mold or understand that what we call the objects we make
    is of little significance: It is the making of it and the connection
    that people make to it. I'll close by again saying: 

    People who are driven to make things, for what ever reason,  make
    things. They make these things for a variety of reasons, but-- if
    they are excited by what they do-- they don't spend (waste) a lot of
    time assigning a definition to what it is they are doing.  It would
    get in the way of the making.  

Andy Cooperman 


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