Soft Lighting, Sharp Focus, Reflective Questions

The final day of the Craft In America video shoot was filled with surprises.

Throughout the entire time, I marveled at all the activity, the professionalism of the specialists, and the amazingly sophisticated equipment.  I often felt challenged mentally and in a hyper-alert state trying to absorb what they were doing. What would I need to do to perform, how would I meet their expectations, and anticipate what they would need me to do next?   There was no practice -- everything was "Take 1" and done.

Day two with the Craft In America video crew started early. 

While the Director of Photography was working on B roll* with me, the rest of the crew worked in my living room to rearrange furniture and set up lighting for the personal interview.

Below you can see how they created the soft lighting.

Behind a large scrim that they assembled in my living room was a very powerful light.  (You can see this light in the studio shots in previous posts.)

Note the cloth on the floor that they placed to capture better sound. 

The sound guy is on the left side of the photo (above.)

I actually had both a body mic and the boom microphone for the interview.
(The sound guy decided which microphone to use.)

The crew made all the decisions for where I sat or stood, and how my body should be positioned. I was interviewed by director Coby Atlas (that's her back at the center of this photo).  This formal interview lasted an hour and a half. Later in the afternoon, we talked about the work on display in my living room. I think it will be interesting to see how they use the interview in the final video edit. I've noticed on previous Craft in America segments that the interview content was integrated into the whole segment seamlessly. They rarely use only the interview, oftentimes mixing it up with studio shots as an auditory compliment to the visual artistry. Talking heads don't tend to hold the audience's interest for long.

So much work went into this production. The crew of six people was at my house for six hours on the first day, and seven hours on the second day.  That's seventy-eight hours of shooting, plus all the travel time, pre-production and post-production, for only 10-15 min of final footage! I know we think of crafting as a labor-intensive endeavor, but film is equally labor-intensive. It's not sweating over a hot forge or sawing at a piece of metal, but instead, it is a highly coordinated effort of camera, audio, lights, gaffers/grips, director, producers, editors, and talent.

Honestly, this experience was dazzling, especially considering that due to COVID, not one person had entered my living room during the previous 15 months. Now all the furniture was moved and there was a flurry of people, none of whom I was supposed to pay any attention to. Coby informed me that she was going to ask me questions, and I was supposed to focus only on her.   That was very difficult.  It was kind of like a "60 Minutes" interview but with only one camera, and no hairstylist or make-up.  I suspect that one must really "hit the big time" first to get hair and make-up support during a video shoot.  

There was no advance preparation for the questions. The entire two days were spontaneous, and my answers were purely extemporaneous. I never had a second chance. No Take 2's.  I have no idea how well I did!  There was no time to think or plan.  It was a whirlwind of experiences and I am so grateful to everyone who made it happen.  The interviews will be streaming soon!

Below is the one-minute preview. There will be more video segments to share soon.

Harriete

*Definition of B roll from Wikipedia: In film and television production, B-roll, B roll, B-reel or B reel is supplemental or alternative footage intercut with the main shot.  The term A-roll, referring to main footage, has fallen out of use.

Previous Posts in the "Craft In America" in my studio series.

"Craft In America" Day 1 - Fabrication in Video Time vs Real Craft

A Gigantic Wish Come True...."Craft In America" Visits My Studio

Perspiration in Preparation & Planning for "Craft In America"

An Optivisor for a Crown - Two Vans Arrive with the "Craft In America" video team

 

 

 

 

 

  

THINK-ing CRAFT Addresses Education

Pick Up Your Pencils, Begin is about the impact of standardized testing on education. It was shown at the DeAnza College Euphrat Museum of Art as part of the exhibition The Art of Education from October 22 - December 7, 2012.

The Art of Education exhibition included Pick Up Your Pencils, Begin by Visiting Artist Harriete Estel Berman. Additional work by De Anza & Foothill Art Faculty and Staff will highlight the diverse yet interconnected work of art faculty and staff and their educational philosophy.

Below is a phenomenal lecture by Seth Godin about the current educational system. Watch it! 
This video aligns with many of the concepts behind my artwork about education.

In this video Seth Godin says:

"Some of you have a number two pencil.... the number two pencil is famous because Frederick J Kelly made it famous.

Back around World War I we had a problem because there was this huge influx of students because we expanded the school  day to include high school students. And there was this huge need to sort them all out. So he invented the standardized test. An abomination!

He gave it up ten years later when the emergency was over, but because he gave it up, because he called it out because he said the standardized test was too crude to be used.... he was ostracized and lost his job as the president  of a university because he dared to speak up against a system that was working."

THNKing CRAFT. What is the impact of standardized testing on education?

 

This post was updated on June 22, 2022, to provide current links.

HUMOR IN CRAFT

The exhibition Humor in Craft opened first at the Society of Contemporary Craft on July 20, 2012. I do wish that I could be there! What a hoot! Curated by Brigitte Martin, the exhibition is based on the book she authored by the same name Humor in Craft.

"Humor in Craft" opens at Kendall College of Art and Design, Grand Rapids, MI.

Exhibition dates: March 4 - April 19, 2014

The opening was April's Fool Day, April 1, 2014 

Get the book from your local library or bookstore to see silly, serendipity, superfluous, or simply entertaining interpretations of humor. Nothing is expected or ordinary. The full-color book includes 235 makers.

There are several catalog essays from a wide range of authors. A round of applause to everyone that attempted to write about humor. What a challenge!  I found the essay by Garth Johnson memorable as he offered historical background on humor in ceramics.

Below a selections of work from the book:

"Corncorde" by Craig Nutt
Installed at the Hartsfield-Jackson Atlanta International Airport


Sweet Tooth Necklace by Sanna Svedestedt

Team Mobiloil, by Donna M. McCullough

 

There are many more fabulous pieces.
Get the book. There is something for everyone!

I am thrilled to say I have several pieces in the book Humor in Craft. Womanizer Kitchen Queen (1982) is included in the exhibition Humor in Craft.

The blender body and lid are all painted copper construction. Essentially, I fabricated by hand a manufactured object as a commentary about our consumer society. Carefully constructed using sheet metal, the appliances are not found objects.

The ballerina inside the transparent plastic blender container pirouettes to a wind-up music box playing "May Your Wish Come True".   (15" height x 5" width x 5.5" depth)


A custom-made pierced crown on the top of the blender container says Misstress of the Home. (Mistress in the title is misspelled intentionally.) I wanted the "MISS" to refer to the Miss America style of beauty competitions. It is also autobiographical as my name "Harriete" means "mistress of the home." Imagine that!  Yes, it's true!  I AM kind of obsessive about my house. No Kidding. Come and visit. 

Womanizer, Kitchen Queen has a 10 Button Panel with plastic lamination. There is brass lettering on the front. The small black lettering says LOVE, HONOR, OBEY, CHERISH, MIX, BLEND, STIR, CREAM, SPREAD, BEAR.

This appliance is one appliance from a series of appliances made from 1980  to 1988.  (scroll down on the sculpture page to see all the appliances.)

Immediately below is a slide presentation on YouTube with audio about how I designed and packed this work for shipping.

This post was updated on April 10, 2022, to provide current links.

Space Available in Upcoming Workshop

Recycle, Repurpose,  RETHINK Materials
On April 22, 2012, I held a workshop at the Contemporary Jewish Museum on Earth Day.

This workshop celebrated Earth Day by focusing on recycled and repurposed materials.

While at the museum, participants could take a peek at the exhibition Do Not Destroy: Trees, Art, and Jewish Thought. Workshop attendees got to roll up their sleeves for ideas and inspiration with artist Harriete Estel Berman, then gather their own creativity to make samples and hands-on projects that bring post-consumer materials and eco-awareness into your classroom. Co-presented by SCRAP.

  TuBishvat Seder plate  by Harriete Estel
  Berman titled Reduce, Reuse, Recycle,
  Assiyah, Yetzirah, Beriyah,   © 2001
  Post-consumer recycled tin can,
  Photo Credit: Philip Cohen

The workshop was inspired by my use of post-consumer, recycled materials for over 24 years to construct artwork ranging from jewelry and teacups to entire lawns and sculptures with social commentary.  Judaica focuses on the concept of Tikkun Olam (repair of the world) with the use of recycled tin cans.

This workshop was designed for teachers to gather ideas.

If you want to celebrate Earth Day with me on Saturday be prepared to work outside. I organize an Earth Day Clean Up for my neighborhood every year. Weeding for 8 hours is on the agenda, but help for only a few hours is completely fine. This is in San Mateo. Come help!

Fawn in my backyard.

Quail on my front steps.

Amazing photo taken on Jekyll Island, Georgia.

This post was updated on February 27, 2023

Do you BELIEVE the arts have a voice in education?

I just heard the author Jonah Lehrer on n.p.r. radio last night. I hung onto every word. His book titled Imagine: How Creativity Works speaks to the messages in my installation Pick Up Your Pencils, Begin

 

 

 

 

The arts and crafts do have a value in education beyond just an art lesson, but the arts and hands-on learning can not be accessed with a number. There is no standardized test for teaching creativity and problem solving  - the very skills that Imagine: How Creativity Works is addressing. 

We live in a time where every class and subject is accessed for its contribution to the curriculum. The arts teach:

• creativity,
• problem-solving,
• open-ended thinking,
• skills of observation,
• integration of left and right brain thinking,
• visualizing three-dimensional construction,
• and so much more.

What is the impact of standardized testing on the school curriculum when everything must be tested and measured? What happens when the arts are squeezed into a one-hour slot, rushed, overscheduled, when there is no time to breathe or think? Think and advocate for the arts and creativity in education.

 

My objective with my installation Pick Up Your Pencils, Begin is to reach out to a larger audience about the value of the arts in education.

 

 

Do you know of an exhibition location in your school, university gallery, or local museum?

• Dimensions of installation 15' height x 28' width.
• Installation ships in five boxes.
• Each box is small enough to be carried by one person. 
• Boxes weigh approximately 32-35 lbs each.
• Installation takes fours hours.
• Hydraulic lift or scissors lift is necessary for installation.
• Installation is possible with 3-4 people.
• Exhibition rental $300. plus shipping and insurance.

Contact me Harriete Estel Berman

This post was updated on March 12, 2022, to provide current links.
          

Are you steering without a compass? Failure is an inevitable cul-de-sac on the road to success.

I used to watch Charlie Rose every day (or at least every day if I could). Charlie Rose offered no-nonsense interviews with the world's leaders in every walk of life or occupation from science, politics, actors, writers, politicians, directors, producers, and entrepreneurs.  (It was devastating to me that his imprudent, and inappropriate behavior brought down a man with so much potential.) 

I often find listening to interviews inspiring. These are the smartest, hardest working, and usually, most articulate people in the world who are able to bring ideas and introspection to the plain wooden table of Charlie Rose (or other articulate interviews.) 

In this post, I want to share a couple of thoughts that may be helpful to artists and makers. Of course, these quotes weren't really about art or art careers. I have taken their words completely out of context, but their words of wisdom warrant being heard. In fact, I think they should be our mantra.

The first quote is from an interview with  George Shultz, Former US Secretary of State from Monday, January 24, 2011. I have been savoring this for years now. He said, "If you don't have ideas, you don't have a compass." This opinion works for both our artwork and for our careers. If we don't have a compass we don't know what direction we are going. It is very easy to get lost. We need a plan. We need a one-year goal and a five-year goal.

Continuing with inspiring thoughts from Peter Gruber on Charlie Rose - March 14, 2011
PETER GUBER:  "Failure is an inevitable cul-de-sac on the road to success." 

"So the idea is you learn from it.  You don’t want to make the same mistake twice.  You want to be able to grow.  You want to be able to recognize that most of the stuff, the fear that you express is really false evidence appearing real.  It’s not, you know, it’s not always going to happen." 

"So if you become, not immune to the failure, but you recognize that failure is a part of the process, when you take really good creative chances, when you really take good business chances, you will have failures.  And the idea is you learn from them and move on.  If they own you, if you surrender to them, then the pain is unbearable.  If you haven’t failed, you haven’t lived life to the fullest."  

If you aren't making mistakes, you aren't pushing yourself into new territory.

PETER GUBER continues: "And you know, I think the idea is that failure and success are this close together, Charlie.  Inside every failure are the seeds to great success, and in every great success are the opportunities for failure."
END QUOTE

Whenever I am working on a new project, I think "failure and success" are very close together. Only hard work, skill, perseverance, intuition, and insight help you find your compass. Experience has taught me not to give up.

Working on the pencil project Pick Up Your Pencils, Begin was discouragingly slow. I worked on it for four years. Talk about scary! It's finally done and the work is being exhibited for the first time. The next phase to make a video is going forward.  

So keep working...every day with a plan. And work on your compass.

Harriete

This post was updated on February 27, 2023 to provide current links.

Pick Up Your Pencils, Begin
15' height x 28' wide, as thick as one pencil

Sticker Shock or A Real Bargain - It's All Relative To Framing

An editorial by Ryan Jones in The Crafts Report (November 2011) brought a fascinating TED Talk to my attention. Dan Ariely explains how "framing" different options can influence purchasing decisions.

This post is not new, the concept is not new, and yet it is still relevant many years later. Quoting Ryan Jones, editor of The Crafts Report, "Some people wonder why they should bring along some higher-priced items to a craft fair, especially if it's unlikely they will sell them. But, framing means that your highest-priced items can be a sales tool ...". Listen to the TED Talk by Dan Ariely to learn more about this concept.

I recommend listening to the TED Talk all the way to the end because it explains the logic behind why we artists should always have a big show-stopper piece of artwork in our booths or in an exhibition to sell the smaller items. After the video, take a look at an example of how I am trying to apply this reasoning for my Judaica.

Here is my practical example.
At the time of this post, I had a Seder plate for Tu Bishvat in the exhibition DO NOT DESTROY at the Contemporary Jewish Museum. The price places this work outside the average consumer. My aspiration (or wish come true) is that a museum will buy this work for their permanent collection. 

Two weeks before the museum exhibition opened,  I contacted the museum gift shop about selling some of my Mezuzot. Each mezuzah is priced at $175. That may put some people into sticker shock compared to the usual gift shop item, but it is a real bargain for the labor, preparation, skills, and design in each mezuzah. 

At the same time,  the mezuzot were an affordable example of my work with an environmental message that can be used every day. 

Everything is relative, and there are many factors that may influence the purchaser's decision including the perceived value of the artwork in the exhibition, and the validation provided by being included in the museum exhibition Do Not Destroy.

Keep this strategy in mind for your booth or next show. While the masterpiece of the show may or may not sell, it may be a prime factor in selling the other work.

I sold seven mezuzot during the show.

Harriete

 

 

 

 

 

 

 

 

 

 

(Above photo) Close-up view of the center of the Tu Bishvat seder plate. If you shine a light on the center of the seder plate it reflects a Star of David on the ceiling(shown below.)



Reduce, Reuse, Recycle, Assiyah, Yetzirah, Beriyah
                                                          ©     2011

Artist:Harriete Estel Berman
DIMENSIONS: 6” ht x 24” w x 20" d

If you are interested in viewing the design, and fabrication of this Judaica TuBishvat seder plate, CLICK HERE to view an entire album on Flickr with step-by-step photos for this work in progress.

 

This post was updated on March 10, 2022, to provide current links.

 

This post was updated on February 27, 2023

Prepare for Success - Workshop for Your Quest

Looking for your path to success?

What direction do you want your work to go? What insights would you like to gain from someone with 30+ years of experience? Is your work consistent with your marketing? In the past, I taught many workshops, but now I realize that I can't teach the one thing you need more than anything else.

You need to be able and willing to work harder than anyone else. and then work even  harder.

Appropriate for all media, the two-day workshop provided tons of information to supercharge your professional development and gain from my 30 years of experience.  

We learn how to use the power of social networking, blogs, and websites to develop visibility and get your work noticed. Other topics included maintaining proper records for the IRS, managing inventory, how to update your resume, and evaluating and upgrading your photos.

We can cover anything you want in a future workshop, but know that there is no magic. It is dedication and hard work along with smart thinking that takes you where you want to go.   Your questions can guide the topics to be covered., but ask your questions anytime right here in the comments. 

Here are some suggestions for topics:

Professional Development resources

Your 20 second commercial

Guidelines for a critique group

Identify your business model.

Establish Your Professional Goals
   Define Objective
   Define Success
   Are your objectives and definition of success consistent with your definition of success?
   How do you expect to achieve your objectives?
   Define your market.

Pricing and fabrication methods.
   Pricing Structure
   Falcher Fusager’s Pricing Formula (for jewelry)
   Guestimation
   Comparative Pricing
   Include your Overhead
   Cost of goods sold
   Pricing Concepts.

Inventory Record Form
   Inventory Records:  Documentation and Provenance
   Hallmark or sign your work

Digital Image Package
   Label examples
   Image description sheet
   All prints and digital files information.
   CONTACT SHEET SAMPLE

Resume vs. CV
   Resume categories
   CV
   BIO

Artist Statement Recommendations
   Artist Statement Tips
   Artist Statement with description
   Envelope for your package

PUBLICITY EXAMPLE
   PUBLICITY  IMAGE
   SELF PORTRAIT
   WORKING IN THE STUDIO
   PHOTOGRAPH EVENTS

Emails and social networking

Strategies for juried opportunities

Publicity and Marketing 100+ ideas
   Book recommendation
   Pitch letter
   Mailing List strategy
   Thank you
   STATIONARY

Wholesale/Retail
   Minimum order for wholesale
   Return Policy

Delivery of work in person
   Shipping – One of a kind work
   Unpacking & Display instructions
     To Display
     Packing and Shipping
     Maintenance Instructions
     Shipping
     CONDITION REPORT
     SIMPLE PACKING LIST 

Profit or Loss?
     What are your options?
     Do you act like a business?
     Expense record examples.
     3 rules to test deductibility
     Expertise?
     Time & Effort?
     Track record
     Record of sales
     Do you act like a business?  I.R.S.

COPYRIGHT & Fair use

www.you
        Website resources
        Web what you need to do and why
        Blogs - blogosphere
        Basic SEO to implement

Any Questions: Contact me directly
harriete [at] sbcglobal.net

https://harrieteestelberman.com

Preservation, Conservation, What is Appropriate Restoration?

At the 2003 SNAG Conference in San Francisco, I listened to one of the most surprising lectures I've ever heard. Between the hours of 8:00 - 9:00 in the morning a collector, Steven Cabella, gave a lecture titled, "Twenty-five years of Collecting Studio Craft Jewelry: Insights, Observations, and Historical Patina". His collections are mid-20th-century objects including furniture, though this lecture focused on his collection of mid-20th-century jewelry.

For over an hour Cabella offered strong opinions from his unique perspective as a collector that I had never heard before. It seems that he often loans objects from his collection to exhibitions -- his support of the arts community is commendable. What shocked me though was his STRONG opinions about the preservation and conservation of mid-20th-century objects. In his lecture, he railed against the restoration of jewelry in his collection such as polishing the work to its original finish.

Let me make this perfectly clear:

• The silver jewelry was originally exhibited and sold with a highly polished finish in the mid-20th century.
• In one example, the silver jewelry was restored in the original maker's studio (by the maker's son).
• Cabella did not want the silver jewelry restored to its original appearance but wanted the patina of 50 years to be evident.

Cabella very consciously wanted the patina of wear and fine scratches from a 50-year lifespan to remain and not be removed.

As a maker, I was conflicted by his opinion.  I had never questioned my own expectation that my work should be cleaned & polished for every exhibition. 

I wonder if the original maker would want the jewelry polished for an exhibition or not? What is appropriate restoration? Should 50-year-old jewelry look like "new" even 50 years later?

Would the maker think the jewelry looked better with the "patina" of 50 years? Or should artwork look "aged" just because it is old?  Should older work look its age?

I don't know. I only know that this particular collector wanted the jewelry in his collection to not look "like new".

As an artist, I have to make choices in materials all the time.  And the decisions that I make today will affect collectors and curators somewhere out in the future (. . . hopefully).  

Everready Working Woman by Harriete Estel Berman from 1984.

The sculpture shown above is from 1984. Titled, Everready Working Woman, this piece is an autobiographical sculpture. It was shown in an exhibition, Humor in Craft, in Phoenix during the 2012 SNAG Conference.

When work that is 28 years old goes out to an exhibition, should I touch up the chips in the painted finish, fix the lipstick, and polish the metal?  I certainly planned to have the work look great for many years after its creation.  So how long is long enough to not look old?  When is it OK to start looking at its age?

Have you ever thought about this issue? Any comments or solutions? Stay tuned to the next post where merry renk offers her opinion (uniquely seasoned and reasoned by 92 years of experience showing her silver jewelry).

Harriete

Everready Working Woman is not a found object. It is carefully constructed by the artist, Harriete Estel Berman, using traditional metalsmithing skills to create an appliance that appears to look like a manufactured object.

Details include a real drill chuck in the front, optional mixing beaters.
A Wonder Woman electric cord lariat with a suction cup plug at the end.
View the spark gun through the yellow plastic window.
A lipstick cartridge fits up inside the handle.
The six-color eye shadow compartment housed in raygun body contains real make-up.

Copper and brass construction with painted or nickel-plated finish.

This post was updated on February 27, 2023

Links to information mentioned on Jay Whaley Blog Talk Radio with Harriete Estel Berman

On January 5, 2012, I was live with Jay Whaley Blog Talk Radio. 

Below are links to information that was mentioned on the radio show. A one-stop resource for our conversation.

If we mentioned anything that isn't listed here, let me know.

Normally, I don't show a link in the text,  but it is listed here so you can copy the text easily and share it with a friend.

Let me know if you need anything else.
What's on your mind?

Harriete

“Pencils Make a Point” in American Craft  Magazine is a two-page centerfold featuring the very personal and political side of Craft. Harriete Estel Berman worked for four years collecting pencils from all over the United States and internationally as a  commentary about the impact of standardized testing on education. The bell curve curtain is 15’ ht and 28’ wide.
Read this informative article from the December/January 2012 issue of American Craft online: https://www.craftcouncil.org/magazine/article/pencils-make-point

Do you wonder "How This Article in American Craft Came to Be" featured in American Craft magazine?   Lots more is happening including the beginning of a new video about this work, tune in to find out more. https://askharriete.typepad.com/ask_harriete/2011/12/how-the-article-in-american-craft-came-to-be.html

                        *****

Are you interested in learning about the assembly of this bell curve of pencils? There is an extended page on my website with images of the fabrication from the last four years showing.  https://harrieteestelberman.com/pencils-1#

                

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Are you interested in the design and fabrication of Harriete Estel Berman’s work in tin cans? She recently finished new work for a show at the Contemporary Jewish Museum that opens in February.  Along the way, she created a Flickr album so you can view, step by step how Harriete designed this Seder Plate from concept through every step in the fabrication. http://www.flickr.com/photos/harriete-estel-berman/sets/72157627467970893/
View the finished work on her website at: https://harrieteestelberman.com/seder-plate-for-tu-bishvat

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Forging Communities

 

 

 

 

 

The essence of success by Sienna Patti

https://askharriete.typepad.com/ask_harriete/2011/11/the-essence-of-success-by-sienna-patti.html

The Difference Between a Goal and a Wish by Brigitte Martin

https://askharriete.typepad.com/ask_harriete/2011/11/-the-difference-between-a-goal-and-a-wish.html

 

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Did you know that the SNAG 2011 
Professional Development Seminar is available online? Recorded during the Houston SNAG Conference you can watch and listen to all six segments on the SNAG Professional Development Seminar page. https://www.snagmetalsmith.org/resources-opportunities/professional-development/professional-development-seminar/

         
NICHE MARKETING and PHOTOGRAPHY IN FLUX were the themes.
This informative programming is available online at no charge courtesy of the NEA, MJSA, and SNAG.

Issues include:

• How to develop new markets for your work.
• Ideas for marketing your work and visibility for your blog.
• The importance of photography in marketing.
• Are new standards emerging for photographic images?
• Are the images representing your work well crafted and compelling?
• What makes a good cover photo?
• What camera features should I look for before I buy?
• What are the ethics of Photoshopping images of my work?
• Who owns the rights to the photograph?
• What kind of "master image" should my photographer provide?

Additional discussion of all topics continues on ASK Harriete:
https://askharriete.typepad.com/ask_harriete/professional_development_seminar/
Here are the links to individual topics:
Niche Marketing link
https://www.youtube.com/watch?v=Y5jKUyHsUOY
https://www.snagmetalsmith.org/wp-content/uploads/2012/06/PDS2011DebStoner_Final.pdf

Digital Images File Extensions
https://www.youtube.com/watch?v=hVEgzo-183k
https://www.snagmetalsmith.org/wp-content/uploads/2012/06/PDSDigitalImageExtensions.pdf

Photography in Flux – Three photographers
https://www.youtube.com/watch?v=J2XEGSuz4eo

Digital Photography Handouts
https://www.snagmetalsmith.org/wp-content/uploads/2012/06/PDS2011DigitalPhotographyHandout.pdf

Photography in Flux – Editor’s Perspective
https://www.youtube.com/watch?v=YHbKEXVumvA

How to Build a Better Drop Shadow
https://www.snagmetalsmith.org/wp-content/uploads/2012/06/PhotoshopStudioTutorial.pdf

Professional Development Seminar 2010

Not Just Another Pricing Lecture
https://www.youtube.com/watch?v=9T6h-qYpNw0
https://www.snagmetalsmith.org/wp-content/uploads/2012/06/PDS2010HANDOUT.pdf

This post was updated on February 18, 2022, to provide current links.

Looking for the MapQuest Version for Your Path to Success?

The New Year renews our optimism and focus on professional development, but we all have questions.
What is your professional goal for the New Year?
Do you know how to get there?

Are you looking for the MapQuest version for your path to success? Can we offer directions?  Do you even remember MapQuest?  Really?   Now we use other navigation software....and struggle if we've lost GPS. Yikes!  You can't even get paper maps any more when you rent a car.   

I talked about this and more at Jay Whaley Blog Talk radio on Thursday, January 5, 2012.

One of my goals for the interview was to open the conversation. What are the pressing issues in the arts and crafts community?

This online radio interview is relevant to artists and makers working in all media.

• What are the tips to success you want to know?

http://whaleystudios.com

Subscribe to ASK Harriete for information throughout the year.

Harriete

This post was updated on February 27, 2023

Happy Chanukah or "Eating Chinese Food on Christmas"

Chanukah already started and I forgot to tell you about my favorite books and resources for contemporary Judaica. The selection is small, but the potential audience for this genre has room for growth.

Years ago, Lark Books published 500 Judaica: Innovative Contemporary Ritual Art. (Affiliate link) I  am very pleased to say that there are several examples of my artwork.

 

A Collectors' Guide to Judaica(Affiliate link) has an interesting selection of historical pieces with informative text. (It only has a few 20th-century pieces of Judaica.)  This book might be hard to find.

 

 

 

 

Are you looking for images of contemporary Judaica that are not the generic gift store item?

Check out a newly published book, Modern Judaica by Jim Cohen includes only contemporary Judaica, many of the pieces are absolutely outstanding.  

Here are a few outstanding examples from this book: 

The Contemporary Jewish Museum, San Francisco,  has a selection of catalogs from their Invitational Exhibitions. I wonder if they are still available? 

In the order listed here (right):
L'Chaim!: A Kiddush Cup Invitational

 

Making Change: 100 Artists Interpret the Tzedakah Box.

 

Scents of Purpose: Artists Interpret the Spice Box

 New Works, Old Stories

These catalogs are not listed online, but they are all beautifully executed with images of Judaica within traditional forms and beyond the expected.

Email me, I will make a recommendation for a catalog based on your interest.

Participation in the exhibitions at the Contemporary Jewish Museum has offered me the opportunity to create museum-quality Judaica.

Many of the pieces that I made for these exhibitions have been purchased for the permanent collections of museums.

Shown to the left is "And There Was Light" a spice book that holds a Havdalah box. 

 

If you are interested, all of my Judaica is shown on my website.

"And There Was Light"                  2004

Seven hinged panels to create an accordion-style book with a removable Spice Box. This contemporary Judaica is constructed from recycled tin cans, spice tins, vintage steel dollhouses, 10 k. gold rivets, aluminum rivets, stainless steel screws. Available for purchase or exhibition.

Each panel    14.25” height x 9” width
The length of the book completely open is 54".

 

Facets of Light        1999

Menorah was constructed from pre-printed steel from recycled tin containers, "Pushke" Boxes used for the Jewish National Fund, and pre-printed steel from vintage dollhouses. Aluminum rivets. One-half-inch acrylic cubes function as feet under the menorah. Available for purchase or exhibition.

3" height x 21" width x 25.5" length

Yellow Flower Scroll Doorpost Mezuzah
Dimensions: 7.25” Inventory number M2L.220

This post was updated on February27, 2023.

"Prepare for Success" in an Art & Craft Business

[Shameless self-promotion -- take a workshop with Harriete on business development and ASK Harriete your questions in person.] 

We all want to improve our tools for success.  In a two-day workshop, gain a wealth of information on ways to accelerate your art/craft business skills.

Prepare for Success: Crash course in running an arts and crafts business

I will be teaching this workshop at Revere Academy, San Francisco, April 28 and 29, 2012.  The hours for the class are 9 am to 5 pm.

 

This class is not just for jewelers! While Revere Academy usually appeals to the hands on metalworking skills, in reality, all media have similar issues in running and managing an art and craft of business.

 

 

 

RAISE YOUR EXPECTATIONS.

 

Professional practices are the day to day skills that lead to long term success.

 

Align your business activities to the style of your work.  The fundamentals of an art/craft business can be rewarding.

Learn how to use social networking, blogs, and your website to develop visibility.

What are your one-year goals? Five-year goals?

Is your resume organized and updated? Learn some simple ideas for your business "housekeeping". Is that an oxymoron?

 How is your inventory management?

 

Are you maintaining proper records for the IRS? 

Are your photographic images good enough?
Let’s take a look.

Submit specific questions in advance or plan to be spontaneous in the workshop.  The workshop is expected to be responsive to and directed by the participants. There is time for dedicated attention for each person.  

Bring your lunch if you want to spend the lunch hour discussing your work and marketing.

How do you define Success?
Are your work and business approach consistent with your goals and objectives?   Is your definition for success a goal or a wish?

Raise your standards or at least redefine them.
Invest two days in your future.

A recent article in American Craft  Dec/Jan 2012 about my work. 

Harriete Estel Berman standing in front of her Seder plate at the Minneapolis Institute of Art.

How To Define Success?

The November 2011  symposium sponsored by the San Francisco Bay Area Metal Arts Guild had me thinking...

A portion of the programming is titled, "What Does Success Look Like in the Jewelry World?" The panel discussion will be led by Sarah Turner, Assistant Director for Academic Affairs at Cranbrook Academy of Art. Panelists include Lola Brooks (artist, faculty at Rhode Island School of Design), Brigitte Martin (Founder, Chief Editor of Crafthaus), and Sienna Patti (owner of Sienna Gallery).

 

The big question remains...How do you define success?

Is the definition of success external or internal? By external, I mean by measures such as the number of books or galleries that represent your work. External might be how much work you sell. Internal is how you feel inside. Do you meet your personal goals?

What do you mean by “Success”?

Is reputation a marker of success?

Is making money a definition of success? Do you have to make money to be successful?

If you sell work at high prices, is that a definition of success?

Is it possible to be a successful artist and never make any money?

Is money the sole definition of success in our society? 

What is the relationship between critical attention and financial success?

These are some really good questions.  If you're like me, perhaps you wrestle with these questions all the time.  All of the advice offered through the Professional Guidelines, ASK Harriete, or the Professional Development Seminar is based on experience and a measure of success.  But each measure of success is only one ingredient. Every recipe for success is going to be different.

I lay awake at night torturing myself. By daylight, it is much easier not to think about such stuff and go make something in the studio.

I'd love to hear what you have to say. What is your question that if answered would bring you success?

How do you measure success?

Harriete Estel Berman working in the studio on a new Judaica Seder plate for Tu Bishvat. You can see the entire process of fabrication in a special album on Flickr.

RELATED POST:
What do you mean by “Success”? by Andy Cooperman

This post was updated on February 12, 2022.

COMING UNGLUED: Learn How to Rivet and Screw (without screwing up!) - A Workshop with Harriete Estel Berman

COMING UNGLUED:
Learn How to Rivet and Screw (without screwing up!) 

is full!!!

DATE: November 19th, 2-5pm   fee: $40
Registration is filling up!
Contact SCRAP to sign up for the wait list...
so that you will be notified for the next workshop or subscribe to this blog's feed for ASK Harriete (in the left column.) Another option, I understand that sometimes people don't show up even though they registered....so maybe if you are at SCRAP at 2:00p.m. you can fill an empty slot.

Recently, I've made two pilgrimages to SCRAP, A Source for the Resourceful in San Francisco to set aside interesting materials for our three hour lesson.

Learn how to attach layers of diverse materials together using simple riveting methods and small screws.  Paper, fabric, buttons, cardboard, plastic, metal, charms, and trinkets can all be made into presents or pins.
   
 Arrive early to hunt and gather at Scrap. Bring your own mementos to incorporate.  No previous experience needed.

If you are ready for a more advanced lesson, you can learn how to hide the pin stem or brainstorm lots of ideas with examples from up-cycled materials.

So much fun to learn, so little time.

Enroll early! Space is limited and the cost is modest.

SCRAP is a resource for the "artist" in all of us. Check it out!

Harriete

Authentic Iconic Copyright, Trademark and Patent

 

Collect Your Money Pin by Harriete Estel Berman

 

The Devil Inside Brooch by Harriete Estel Berman

 

Words Like Winter Snowflakes by Harriete Estel Berman

Winning the Race with Time Brooch

Learn how to make the back of your pins look great!

 

Use Your Camera As An Impartial Opinion - A Third Eye

I've been working really hard for the last three months on a major piece. The deadline is looming, I can't take a day off to look at my work with a fresh eye. This is a real concern.

TuBishvat Seder Plate in progress. View every step from the past 2 1/2 months on Flickr.

Sometimes, I am lucky enough to have my husband, children or studio assistant offer their opinions. Thank goodness!

 

An impartial opinion and a fresh set of eyes are absolutely essential.

emiko oye and Aryn Shelander working together to fine-tune the images in tin.

But all too often, like last night, I am by myself making really important decisions with no one to offer an impartial opinion, a third eye. After hours and hours of working each day, I am running into decision fatigue and can no longer see my work objectively. Does this ever happen to you?

It's a real problem -- the brain compensates by filling in less than perfect information. How can I find out if my next solution is "working" visually? How can an artist see their work with a fresh eye when there is no time to take a break?

Here's one solution:

USE YOUR CAMERA FOR AN IMPARTIAL OPINION
A few quick photos in the studio can really help you see your work in a new way.

TuBishvat Seder plate without leaves at the top of the apple.

Take out your digital camera and take a few photos.

Upload to your computer and evaluate the images.

Here is an example.  Compare two possibilities.

The left image has three leaves on the top of the apple. The right image has one leaf over the top of the apple.  Which do you like better?

The photos can help you see your work in a whole new way. 

Next time you're "stuck" trying to make a decision, take a few photos.  Or, . . . another person I know scans her work on her scanner.  Either way, capture an impartial opinion - a third eye and a fresh perspective on your work.

It really works!

Harriete

Next Post: Planning the best possible photographic images of your work.

This post was updated on February 11, 2022.

Handcuffs, As Jewelry? - Symbol of Oppression in Fashion

When my daughter was fourteen I started “The Fulsome Game” (see photo below), inspired by the comparison (or should I say the shocking similarity) between three different game boards from 1966, 1967, and 1995. Adding to the culture shock for this women’s lib mother/artist were the magazines marketed to young girls filled with underwear, makeup, nail polish, and articles about “how to look good” or “what do boys want in girls.”



Our culture sells this fulsome game of excessive advertising, consciously and subconsciously selling an incessant message that limits females to stereotypical roles that superficially focus on appearance instead of substance.



When will women be unshackled from the limitations of these formulaic and limited roles?

Roll the dice…

Well, I couldn't believe what I found in a recent issue of Elle Magazine discovered at the gym. What I thought was going to be entertainment turned into concern when I noticed this image below
                                  handcuffs as jewelry!

I (reluctantly) borrowed the magazine and scanned the page for your viewing. 

The above image was taken from a full-page fashion spread of HOT items currently "in fashion." Something is wrong here if "hot fashion" items are handcuffs for women as jewelry. 

Sure you can say, "don't buy it".... but I am objecting to the message.

In case you think that the one pair of handcuffs was an anomaly here is an entire page of handcuffs as a fashion accessory from the same magazine.

 

Interesting that the handcuffs are shown with very high heels on both pages of fashion images. The high heels give the appearance of longer legs, but at the extreme, they encumber womens' ability to walk. The extreme high heels themselves are like ankle shackles. Handcuffs as jewelry??!  Bondage as metaphor?!! An amazing combination of shackled hands and ankles.

I want to be as fashionable and attractive as most other women....but why is it that "fashion" thinks it is attractive to wear items of subjugation and pain (handcuffs and extremely high heels)?

MORE BACKGROUND BELOW ABOUT MY COLLECTION OF GENDER-SPECIFIC games that inspire my past artwork (some highlighting handcuffs).

Come to my studio to see the extensive collection of toys.

As mentioned at the beginning, "The Fulsome Game" was inspired by three vintage game boards that I collected in my feminist study of our material culture. 

The oldest game is titled “What Shall I be? The exciting game of Career Girls” © 1966.

It offered six possible careers to young girls playing the game: ballerina, model, actress, flight attendant, nurse, and school teacher. 

Game cards in the box make a range of comments, some positive and many negative, for example
“YOU ARE A QUICK THINKER. Good for: Airline Hostess and Nurse”
“YOU ARE OVERWEIGHT.  Bad for: Airline Hostess, Ballet Dancer, and Model."
"YOU ARE PRETTY. Good for: Model and Actress."
"YOUR MAKE-UP IS TOO SLOPPY. Bad for: Airline Hostess and Model." 
"YOU ARE A SLOW THINKER. Bad for: Airline Hostess and Nurse. Another game board."

Continuing with more revelations from my collection of gender-specific toys:

Above and left are the front and the back of a “Campus Queen” lunch box circa 1967. The lunch box came complete with a thermos, two magnetic game pieces, and a spinner.

The game board had spaces with statements like:
"YOU NEED A HAIRDO FOR THE PROM, GO BACK TO THE BEAUTY PARLOR” and “YOUR HEM IS DOWN! WAIT 1 TURN TO FIX IT!"

Roll the dice, advance thirty years!   In 1997 my eight-year-old daughter was given a Barbie game called, “’ We Girls Can Do Anything’ Game, Travel the Path that Leads to the Career of Your Dreams” © 1996.

After all of these years, the career options had improved only slightly (didn’t the feminist movement have any impact)?   Now, the career options are: ballerina, fashion designer, actress, musician, pilot, and doctor, but every character is dressed in Barbie pink including the pilot and doctor.

I could not hold myself back from this commentary in the piece "The Fulsome Game".

Harriete

This post was updated on February 11, 2022.

 

 

Make Work YOU WANT TO MAKE and then... THE WORK Will Find a SHOW

Harriete,
I have spent the afternoon reading Ask Harriete.  Oftentimes, I see a show I feel my work would fit into...due to the subject matter, title, etc., however, there is NOT enough time to create a piece and get it submitted in time.  After reading what you say in the interview (from Etsy Recycler's Guild, I am surprised to see, that you most likely enter shows after the work is done. 

Or as you once told me, you shop the work around in order to find an exhibition space.  So, what can you offer to those of us who have the problem?  

Mary Anne Enriquez

This issue often causes artists and makers to feel overwhelmed.  Your schedule is already full and then an opportunity arises that would demand even more time. Who can just drop everything and start
                                                    something new?

Although I do make work for some shows (and will show some examples in the next post on ASK Harriete),  I prefer to make work that I want to make based on my long-term goals.

I recommend that all artists and makers make the work they want to make.

 

Measuring Compliance Poster
portrays sculpture by the same title.
Measuring Compliance © 2006
Recycled materials, 3rd-grade desk,
3rd-grade chair, banners, custom made
straight jacket, yardstick, rulers.
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

It is the artist's or maker's responsibility to bring important or significant ideas to fruition without the dictates of a theme, exhibition, or invitation. Maybe these ideas are big, expensive, demanding, or even scary. So what if it takes a year or more to finish because you have to put it down, work on your day job, or do other artwork that makes money. Just keep working with the big goals in mind.

If you wait for a show invitation to start making something big or important, you may never get around to creating significant artwork. Too often, I have heard artists expressing disappointment that they didn't get invited to be part of a particular exhibition even though they had been thinking about making something that would have been "perfect" for the show.  Don't wait for a show to prompt the making . . .  start making.  By waiting to make something "for a show" ... they lost an opportunity.

The emphasis is on making work that is challenging, significant, and stands on its own . . .  not making work that fits into a show in a few weeks.   Make work that you will be proud of for a lifetime.  Sooner or later a show or some other opportunity will turn up that is right for your work -- not the other way around.

HERE IS AN EXAMPLE:
I just finished the project Pick Up Your Pencils, Begin. It took the better part of five years. I often had to put it away until  I had time or help available to work on it.

Most often, the bigger or high-risk projects aren't necessarily the ones that will sell, but they may become the "show stopper" that establishes your reputation years later.

Here is my real-life example.    The day before I finished Pick Up Your Pencils, Begin, a major magazine emailed me about writing an article on a topic highly relevant to this work! Wow!!!!! They need photos of the installation, so now I need to find an exhibition space.

This wasn't magic. I have also been working on documenting the construction of this artwork, writing about it on my website, Facebook, blog, Crafthaus, and other social networking sites.

The editor had become aware of this project from my website. I've had a link on my home page ever since I started the project.

Apparently, editors and writers spend some of their time "trolling"  the internet for ideas and new work. Marthe Le Van, editor for Lark Books talked about this during her presentation for the Professional Development Seminar. A lesson to all of us to keep making our work, documenting our progress, never give up...steady progress wins the race!

MAKE WORK YOU WANT TO MAKE and then... find an exhibition space.

Does anyone know of an exhibition space for Pick UP Your Pencils, Begin?

I'd love to hear your ideas! There are 3-4 weeks before the article goes to press.

Harriete

You can see the documentation of Pick Up Your Pencils, Begin on my website.

NEXT POSTS on ASK Harriete:

• Is it fruitless to even think of creating something fast to get into a show?

• How Do You Find Exhibition Opportunities For Finished Work?

This post was updated on February 9,  2022.

The Billboard Art Project Breaks ART BOUNDARIES in Duluth, MN

Normally we see art and craft in galleries, museums, stores, or online -- seldom does a venue actually reach out to the general public.  Well, that's about to change!  The Billboard Art Project breaks through all the ivory tower gates and grabs the attention of the commuting audience with BILLBOARD SIZE IMAGES of art.   AND . . . my artwork is included in the Billboard Art Project!   How exciting!

A billboard obtained from Lamar Advertising by The Billboard Art Project will display site-specific artwork for a continuous period of 48 hours on their billboard in Duluth, MN. They selected 59 artists from all over the U.S. and Europe to have their artwork images exhibited in an eight-hour show that will repeat six times. The images in this post will be shown along with the other artists beginning at midnight Friday night through Saturday and Sunday until midnight Sunday night. Wish I could see the real thing. 

In addition to providing artists with a free venue to display their art, free art shows are provided to the public, thus initiating a dialogue between artists, viewers, and the public landscape. How cool is that?

WHERE: Billboard Art Project - Duluth, MN

LOCATION: Digital LED Billboard at the intersection of
               E Central Entrance and S Blackman Avenue
              (southeast corner)
               Duluth, Minnesota, 55811

WHEN: Saturday, August 20th at 12:01 a.m. through
           Sunday, August 21st  11:59 p.m.

ABOUT:
Billboard Art Project is a nonprofit organization that acquires digital billboards normally used for advertising and repurposes them as roadside art galleries. Projects are held in cities all over the country and are open to all individuals and groups who are interested in participating.

PARTICIPATE in the Billboard Art Project:
If you want to submit images of your art or craft for future locations, more information can be found at The Billboard Art Project. Each city has different requirements, dimensions, and deadlines. Read the PDF super carefully! You have to resize your images to fit the Billboard dimensions, and it takes time to label your images properly. Your fabulous images could be a billboard.  I think this is a fabulous idea!

Harriete

PARTICIPATING ARTISTS for Duluth, MN listed below:
Alex Lange, Alli Miller, Amanda Mead, Becky Kehrwald, Brian Barber, Brian Nogues, Brian
Rauvola, Cat Bottoms Newby, Chau Dang, Claire Accardo, Connie J. Frisch-Cherniak, Dana M. Johnson, David J. Thompson, David Morrison, Elizabeth Shores, Ellen Mueller, Erin O’Daniel, Erin Rolf, Flavio Galván, Ginny Lloyd, Happy Accidents, Harriete Estel Berman, Jacob Riddle, Jason Sayner, Jeredt Runions, Joelle McTigue, Joshua Barber, Julia Whitney Barnes, June Bisantz, Justin Anderson, Justin Jorgensen, Karlie Thomas, Katerina Lanfranco, Kelsey Bosch, Kerry Woo, Kiyomi, Kristian Bjørnard, Laura Cinti, Laurel Beckman, Laurie Paravati, Luisa Pulido, Marcellous Lovelace, MaryAnn Cleary, Michael Harford, Michele Guieu, Mitchell Bercier, Nadia Pacheco, Natalee Parochka, Natalee Phelps, Phyllis Fox, Rachael Gorchov, Rachel Halgren, Sarah Jacobs, Scott Murphy, Seeking Kali, Shaun Irving, Stephanie Thompson, Tracy Stampfle, Wes Kline

Craft Forward Symposium 2011 - Keeping Your Radar Up for Opportunities

The Craft Forward Symposium 2011 is sponsored by the California College of the Arts from April 1 to 3. I've been hearing about this upcoming symposium for over a year through a whispering "telephone game" in the San Francisco Bay Area. The Symposium is almost on my home turf. (Actually, it is an hour away from my house.)  I plan to attend and gobble up every word.  I don't want to miss a minute!

The Symposium will also feature an exhibition titled, Manufractured. This show is a new iteration related to the book of the same name (which includes a whole chapter about my work). The premise of the exhibition is that all the work uses re-purposed manufactured materials. (More in a future post.)

The lead-up to the Craft Forward symposium and the exhibition Manufractured are good examples for every artist and maker.

1) The importance of keeping your radar up for opportunities. You've got to be listening to the rumors, working with your local arts organizations, and reading your magazines to catch the opportunities. (see the bottom of this post for another opportunity.) 

While the list of speakers makes this a really interesting EVENT (YES, EVENT with capital letters), it doesn't seem that it was very well-publicized. Why?

2)  Every artist and maker will benefit from the nuggets of information from the speakers of Craft Forward. I plan to write something about every "session" so that everyone can benefit from this symposium.

Subscribe to ASK Harriete or check back regularly. This is our chance to hear what the leading lecturers, curators, and writers have to say about the future of our respective and collective media.

Every post will be as brief as possible. I will try to organize each blog post:

• Title of lecture with session speaker(s)
• Summary
• What did I learn?
• What were the thought-provoking issues raised? 
• What questions were Asked and Answered?
• Background about the speakers.

Share this information with your fellow artists and makers. Give a shout-out! 

"Craft Forward examines the multifaceted practices that both distinguish and blur the historically charged boundaries." "The symposium brings together a diverse group of makers and thinkers to explore the ethos of craft and its resurgence in the 21st century."

This blog post is your early notice. Stay tuned for daily blogs for about two weeks until each and every lecture, presentation, event, and discussion is covered.

Stay tuned.

Harriete

Below is information from the Craft Forward website about who is sponsoring the symposium:
"Generous support for the Craft Forward symposium is provided by an anonymous donor and the National Endowment for the Arts (NEA). Additional support is provided by Grants for the Arts / San Francisco Hotel Tax Fund and by the Chalsty Aesthetics and Philosophy Initiative, made possible by a grant from the Chalsty Foundation. Special thanks to the American Craft Council for their partnership in the realization of the symposium."

What does Craft Forward mean to you?

This post was updated on January 28, 2022.

MAKERS: A History of American Studio Craft - HOT OFF THE PRESS!

Arriving home from my family vacation at the beach, I found a mountain of mail waiting for me.  But thrill upon thrill, there was my copy of Makers: A History of American Studio Craft, HOT OFF THE PRESS!  I ordered it weeks ago, it has finally arrived!!!!!.

This book took five years of research and intensive effort from Bruce Metcalf and Janet Koplos. As mentioned in a previous post, this book was designed and written as a college-level textbook on the history of craft in the 20th century published by The University of North Carolina Press. It looks like a textbook with only about one picture per page. This is definitely not a picture book. IF you aren't familiar with craft history you might want to read this book next to an internet resource for quick reference.

Essentially, it is the one and only book of this kind published to date. Your mission, if you choose to accept it, is to read the entire book word for word, cover to cover.

Joking aside, I am not kidding. This book is bound to be a milestone in the studio craft movement of the 21st century.  

Hourglass Figure: The Scale of Torture
Recycled tin cans, battery motor, alum.
rivets, dial, screws.
Artist: Harriete Estel Berman © 1994
Photo Credit: Philip Cohen

The first chapter starts with "The Roots of Studio Craft" in the 19th century, but thereafter, each and every chapter covers one decade after another in the 20th century. My joy and excitement is that an image of my work, Hourglass Figure: The Scale of Torture, is included in the final chapter titled, "1990-1999 Mastery As Meaning" along with a column of commentary text.

 

 

So far the best price I've found for Makers: A History of American Studio Craft is on Amazon.com.  In the interest of full disclosure, clicking on the link and purchasing a book will provide this blog with a few cents as an affiliate link.

IF you don't want to buy your own book, then I suggest you ask your local library system immediately to get it and put yourself at the top of the waiting list.

Harriete

This post was updated on January 19, 2022.

How do you find venues for your work? Asking ASK Harriete, the artist, a few questions

"Hi Harriete!
I've recently been listening to all the past Whaley studios blog radio programs and have gotten up to your interview a few weeks ago. What a great interview! It gave me a chance to know a little more about you and your work...from your own mouth!

After listening I had a few questions about your installation/museum work: How does it work? Do you come up with an idea, make the work, then try and shop it around to different venues? Or do you try and fill an already perceived need a venue may have? Or something else?

What sort of monetary arrangements are there (if any) for just showing the work (instead of the piece being acquired by a museum)?

Stevie B.

Grass/gras' sculpture close-up © 2001
Recycled tin cans, steel base
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

That's a lot of questions. I will do my best to give you some quick answers.

Grass/gras' sculpture close-up © 2001
Recycled tin cans, steel base
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

Mostly, I come up with an idea, make the work, and then "shop it around", as you call it.  This takes a  considerable amount of time from start to finish. For example, the Grass/gras' installation took a year to make plus another year to finish the Grass/gras' video. The series of 200 cups titled, Consuming Conversation (see images below), took four years plus another year for the two videos. In both cases, I photographed earlier examples and started promoting the work before it was finished. Considering the entire effort, both projects took several years from inception to the finished work because I need to keep up on other work that makes money during the same period.

It often takes years until a piece becomes known, shown in exhibitions, or published in books or magazines with images widely distributed. The Internet really helps with that aspect of promoting your work, but it is important to maintain your focus and keep on working no matter what.
 

Hourglass Figure: The Scale of Torture
Recycled tin cans, battery motor, alum.
rivets, dial, screws.
Artist: Harriete Estel Berman © 1994
Photo Credit: Philip Cohen

Sixteen years after completion, Hourglass Figure: the Scale of Torture is included in the book Makers: A History of Studio Craft.  I haven't seen the book yet, but this is really big news! You have to plant your seeds and nurture them. You can not wait for opportunities and invitations to show up, you need to create momentum by working all the time.

I have been writing about a current artwork in progress involving a bell curve made from #2 pencils on my website and Facebook. This is the fourth year of working on this project, but I am really trying to finish it this year. When I have some preliminary photos, I will start looking for exhibition spaces.

There is no money that I know of for these big projects. Once in a great while, I get a little money to make a video or to speak about a piece. Big projects like this are time-consuming, drain my financial resources, drive me insane, fill me with self-doubt and torture -- it is not a picnic.  Yet this is what I see and must do.  It is my expression of art.

The next post answers the question: "How do you transport the larger work?"  Another real-world question from several readers of ASK Harriete.

Harriete

This post was updated on January 19, 2022.

Consuming Conversation © 2004
Teacup sculpture from recycled tin cans.
Handles are sterling silver or bronze.
This was the first photo I had for the
series and started promoting the series
through this image with note cards
and images. 
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

Anticipating History - MAKERS: A History of American Studio Craft

Makers: A History of American Studio Craft is the only comprehensive survey of modern craft in the United States and the release date is July 13, 2010!

This book follows the development of studio craft media including fiber, clay, glass, wood, and metal from its roots in nineteenth-century reform movements to the rich diversity of expression at the end of the twentieth century.

Culminating after over five years of research and dedication from the authors, Bruce Metcalf and Janet Koplos, this book provides a college-level history of 20th-century craft. But there is no need to go to college for this class, as the book gives an in-depth perspective to inform your studio work. 

Many times craft is considered just a description of materials or techniques when in fact, craft can contain social and political commentary. As we enter the 21st century, the act of making or crafting by hand is in itself a social commentary.  When "makers" deliberately decide to make work in a time of mass-produced consumer goods, craft is not just a media, not just a verb, but a symbolic action. 

 

Increasing Quantity, Diminishing Value
 Recycled tin cans, copper base
 Artist: Harriete Estel Berman © 2001
 Photo Credit: Philip Cohen

Due to the depth and range across so much media, this book is destined to be the consummate resource about the history of 20th-century craftwork.  By understanding the roots of craft media in the 20th century, both the makers and their audiences can more fully appreciate and recognize the value of craft in the 21st century.   

I've already pre-ordered a copy.  Personally, every time a UPS truck drives up near my house, my heart jumps out of my chest.  Is my book here yet?  I am so excited!  But then I go back to work  . . . anticipation is  . . . well, more inspiration until my book arrives. Can't wait!  And I have a secret to be revealed as well!!!! 

 

 Increasing Quantity, Diminishing Value
 Recycled tin cans, copper base
 Artist: Harriete Estel Berman © 2001
 Photo Credit: Philip Cohen

Harriete

So far the best price I've found for Makers: A History of American Studio Craft is on Amazon.com.  (Even better than the price I paid, Aw Shucks!!!)  In the interest of full disclosure, clicking on the link and purchasing a book will provide this blog with a few cents as an affiliate link.

This post was updated on January 19, 2022, to provide current links.

Increasing Quantity, Diminishing Value is about the environmental impact of lawns on our environment. Constructed entirely from post-consumer tin cans, this series of grass sculptures highlight the grass lawn as an ultimate consumer icon of American culture. Watch the video featuring the construction and motivation behind the Grass/gras sculpture on my website or YOUtube. 

April Flowers White Magic in Honor of Earth Day.

 
 Flower Brooch Orange and White  with Orange Center     © 2010
 Post-consumer recycled tin cans.
 Artist: Harriete Estel Berman                   Photo Credit: Emiko Oye
 

This post was updated on January 14, 2022.

April Flower Brooch - Rose Metallic Flower in Honor of Earth Day

Flower Brooch Gold Metallic and Rose with Orange  Center     © 2010
Post-consumer recycled tin cans. 
Artist: Harriete Estel Berman                   Photo Credit: emiko oye

This post was updated on January 13, 2022.

April Flower Brooch - Red UPC Flower in Honor of Earth Day

Flower Brooch Red  and Yellow with Red UPC Center     © 2010
Post-consumer recycled tin cans.  One-of-a-kind pin.
Artist: Harriete Estel Berman                   Photo Credit: Emiko Oye  

This post was updated on January 13, 2022.

April Flower Brooch in Honor of Earth Day

 

 
April Flower Brooch in Red and Yellow with  black Center    © 2010
Post-consumer recycled tin cans. One-of-a-kind pin.
Artist: Harriete Estel Berman                   Photo Credit: Emiko Oye
SOLD   April Flowers Brooch pins are available for purchase. Please inquire.

This post was updated on January 13, 2022.

April Flower Brooch in Honor of Earth Day

Every day through the month of April I am going to post a new Flower Brooch in honor of Earth Day. Constructed from post-consumer recycled materials, each brooch is a combination of this spring's fashion focus on flowers and prints.

This post was updated on January 13, 2022.

Flower Brooch Blue and Yellow with Purple Center     © 2010
Post-consumer recycled tin cans.
Artist: Harriete Estel Berman                   Photo Credit: Emiko Oye

Hey, I'm on TV working in the studio.

Eons of Exodus    ©   2008
Recycled tin cans, Plexiglas, 10k. gold,
sterling silver and aluminum rivets.
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen
Permanent Collection of the
Minneapolis Institute of Art

Our local PBS station, KQED produces a show called SPARK which spotlights local artists and their creative processes.  You can watch my 3 minutes of TV fame in a story about the Contemporary Jewish Museum and the exhibit “New Works/Old Story: 80 Artists at the Passover Table.”  The segment includes me working on my seder plate in the studio and talking about the inspiration behind this work.

If you want to catch the segment online it can be seen on the KQED website HERE.

I hope you get a chance to watch it!

Let me know what you think.

Harriete

This post was updated on January 11, 2022, to provide current links.

Updates from Boris Bally

Here is an UPDATE from Boris Bally.

A previous series of posts about late or non-payment from galleries/stores included an account from Boris Bally about his experiences. He would like to add this addendum from the "pen of Boris Bally":

Regarding IMEC

I was stunned today to discover a check (no note) in today's mail. I finally received payment from Luis at IMEC- in full! (there were no finance charges assessed, as I wasn't aware how long ago (since the 14 months or so- that I sent the work) the pieces actually sold (due to poor communication.) This is why I continue to dislike consignment with disorganized galleries- ugh! If Luis had paid me, or even communicated with me when I wrote my first note, I never would have thought to come forward with my story. 

Regarding Robert Kaylor, R Grey Gallery in Boise, Idaho

Yes, they finally paid the amount due and later (actually) paid me yesterday (!!)... for the final interest balance.. that they questioned (!!) 

So we are all squared away after months (of no communication).  They didn't reply to tell me they were paying the balance off.. otherwise, I may not have used them as an example.  Again, a small communication would have helped them.  Go figure!

It is a good lesson that a little communication goes a LONG way! Anyway, I want to thank you, Harriete, and Joan, for helping raise your voices in solidarity, and to give mine more range. In the end, who knows why I eventually got paid...? I am just really happy to end on a good finish and be DONE 'neatly.' THANKS a million!

xo

-Boris

This post was updated on January 11, 2022.