You are a brilliant sculptor. A patron comes to your studio and plops a giant lump of clay on the table in front of you.
"I want you to take this lump of clay and make me something beautiful," says the patron.
Then, before you can ask any questions, he leaves. You find yourself not knowing where to start. Something beautiful? How do you choose? There are so many beautiful things. Does the patron want something realistic? Abstract? Based in nature? The ever-mounting swell of possibilities paralyzes your talent for creative creation.
Eventually, you accept the fact that the task before you is overwhelming and do the only thing there is to do...
Start.
You work tirelessly night and day. You shape and mold the clay until it takes on an aesthetically pleasing form. You scoop away the unneeded excess. Finally, you stop and step away from your sculpture. Being the professional that you are, you can see that the piece you have created is far from perfect. But it is beautiful, and you decide it is time to be done.
You contact the patron. He returns to your studio to see what you have created.
Your heart sinks as the financier of your piece stares in disgusted disbelief.
"Where is the pedestal?" asks the patron. "Don't you know that all great statues are sculpted to look like they sit on a pedestal? And why isn't it painted? Don't you know that every statue should be painted?"
The patron refuses to pay for what you have created and storms out of your studio. He snaps a picture of the monstrosity in order to show it to the National Council of Artists. He wants your sculptor’s license revoked.
The National Council of Artists sees your sculpture and is appalled. They decide that there needs to be a crack down so that no sculpture will ever be created without paint and a pedestal. Soon there is a national mandate requiring that all sculptures contain these two elements. Artists who refuse to comply lose their membership in the counsel which makes it very hard for them to get commissions.
Many members do not think that these restrictions are enough. They feel that the national council should also decide acceptable dimensions for a sculpture, the subject matter that can be depicted in sculptural form, and they mandate that all sculptures must be carved out of marble (they have a surplus in the quarries, and using it up will be very profitable to the council).
You lose passion for your work. The council no longer seems to have faith in the ability of sculptors to create beautiful works of art without national intervention and strict regulation. Your work becomes dull and passionless. All the sculptures in the country begin to look the same. If nothing changes, they will all begin to look like they were cast from the same mold. You give up the craft, because you are deeply distraught by the lack of freedom you have to make every sculpture into something unique.
Question 1: What kinds of students should our country strive for?
Dull passionless clones?
Or
Unique works of art?
Question 2: What kinds of teachers should our country strive for?
Regurgitators?
Or
Creators?
I know which of these I would choose. What about you??
Saturday, January 22, 2011
Standardized Sculpture
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I am no sculpture, and do not speak with authority with regards to professional art. However, from what limited training I do have in the arts, I believe that the reason certain rules are in place, and these rules are more professionally accepted guidelines than dogma, is to define a certain aesthetic of that style. Deviance from these guidelines is obviously not readily accepted by everyone, but in no way does this mean that work is worthless, or worse, that it should be censored. Politics and professional clout play instrumental roles in determining how readily these new forms are deemed palatable to others. However, progress is essential to the survival of any art form. Stagnancy is quickest way for art to become meaningless and corrupted. I am an avid martial arts fan, and in my studies of Japanese martial arts, I came across the principle of Shu-Ha-Ri, which translates to Obey, Break, Separate. It describes the overall progression of the martial artist's training, and his/her relationship towards the instructor. The foundations have to be understood and mastered. But from then on, it is a path of self-discovery, one that must be separate from that before of the instructor. There will be an evolution, perhaps small, perhaps large. Perhaps the martial artist will found his/her own school of martial arts. In the end, it is rather ironic, that it is through continual change that art and art forms retain their meaning and value to us.
ReplyDeleteThis is a powerful piece of writing. It speaks to the frustration in the educational community that has been there for the 40 yearsI've been involved in it. Unfortunately, the decision makers typically are (or become) so removed from the kids that their decisions no longer seem to be based on what is best for students. I don't recall where I once heard something about a sculptor who said something like "I don't carve into the stone, I simply look at it and release what is in it." The students of classroom teachers aren't totally analgous to the formless lumps of clay. They come to us with backgrounds, knowledge, creativity hopes, dreams, aspirations...and yes, limitations. we simply want to be free to see them as individuals and move them in positive ways. I sense your frustration and send you energy. Send me an email. we'll talk some more.
ReplyDeleteI completely agree with sharper. The one major critique I have of this post is that it does not take into account what students bring to the table. They are not lifeless lumps of clay that teachers need to give shape and form. I plan to explore this idea more in future posts.
ReplyDelete