How about the AAW Mag Cover Picture!!!

[Ed_McDonnell]

Maybe we can get another hot thread going.

Anyone else besides me scratching their heads over the choice of subjects for the Winter cover?

I look at the picture on the back cover and I am inspired and in awe. I look at pictures (most of them) inside and I am challenged to push my "art" (and I use the word loosely in applying it to my creations) to new levels. I look at the cover picture and I'm left wondering if I accidentally got a copy of the Journal of American Chainsawyers by mistake.

OK, it is wood and the bright red is eye catching and you want a cover that attracts attention, but shouldn't there be some additional criteria for selecting the cover of American Woodturner?

Was this an attempt to try and gain the attention of modern art colletors? Put something that doesn't look like a tradtional turning on the cover in the hopes of luring them to look inside the magazine?

I am baffled.

Anyone else care to share an opinion?

Ed

 

[Jerry Hall]

"The Art of Whimsy" says

it all. The cover piece caught my eye and interest. I see it as three dimensional composition in contrast, texture, line. Not a tour de force in turning as is the back cover. The two pieces as you point out are remarkably different statements. Would the cover piece have lasting pleasure to me on my display shelf? I don't know. I think that fine craftsmanship tells over the long run, but that is not enough by itself. But I did enjoy the cover piece a lot; IMHO it deserved its place. It made me think of possibilities. I think the ground it breaks has value. It definitely was one one of the best covers I have seen. Most of us are drawn to variety. Not all that is new "works." This did for me. I appreciate Alan's article for not only talking about such designs but giving us a full range of interesting techniques.

 

[Mr. Don]

Winter Cover

This "art", in my humble opinion, has no place on the cover of our journal...even WITH the shipping crease down the center. Let us stick to turning, and leave the weird stuff to the weirdos.!!!:cool2::cool2:

 

[Michael Kuehl]

I do not "like" the piece on the cover. That said, I can appreciate the artistry that goes into conceiving and producing such a piece. As jerhall said, "it caught my eye and interest." It is at least partially turned, as are Binh Pho's pieces. The difference of course, and why I like Pho's pieces a great deal more, is that his work also displays great technical virtuosity. Perhaps someone will look at the cover and be inspired to create a piece that has the same basic elements, but also displays technical virtuosity.

 

[john lucas]

I loved it. It also happens to perfectly represent the article inside on turning black. I learned from John Jordan a long time ago that black pieces force your eye to look at the form and the wood is secondary. I'm sure they chose the piece that had red in it because it makes you look at the color.
This magazine is about all styles of turning not just honey dippers, bowls, and spindles, and rolling pins. If you want that there are other magazines that try to cater to that crowd.
If you want to see "Artsy" pieces join the Woodturning Center and get their magazine. There are some incredible pieces in there but I'm pretty sure this crowd would have a cow over them.
I'm not trying to step on anyones taste I simply want to say that there are a lot of turners out there with a lot of different tastes and style. The AAW is trying to cater to that and it's difficult. Look how popular the special interest groups were at the last symposium. It's obvious that members enjoy all sorts of turning.
I thought the cover seperated us from the crowd and probably made someone pick up the magazine just to see what this was all about.

 

[Keith Krebs]

I was also "puzzled" by the selection for the cover. To be quite honest it looked like a reject from my firewood pile. I do appreciate the talent and dedication to push the envelope and try to expand on the present pool of talent and design, but come on folks that thing is just "butt" ugly. Any "Photo Of The Day" from our own home page would have been more desireable and more representitive of our general membership.

 

[Mjonesrdg]

Basic Black???

You just beat me to the punch, Ed. This post might be a sacrilige, but here goes...

We have learned a lot about wood: spieces, properties, identification, etc. We struggled through learning to dry and stabilize it. We have learned so much about lathes, lathe accessories, jigs, chucks, and special shop-made gismos. We have learned about tools: steel types, grinds, sharpening, and presentation of them. We have learned to use sandpaper...disks, velcro-backed, snap lock, and PSA. About sandpaper types and grits...about pumice and rottenstone...steel wool...abralon, and micro-mesh.

And, good grief! What we have had to learn about finishing! We've learned about shellac (store-bought and not) lacquer, the sealers, oils, rubbing, spraying, and burnishing. We've had our share of do-overs...of trial and error...of dissapoinments.

Embellishments? Oh yeah. We have studied about inlays, dyes, stains, imbeds in metal and stone, carving, and pyrography. The list here goes on and on.
Then there is the learning curve associated with digital photography, photo manipulation and file sizing. There is learning the internet and how to find woodturning resources there. There is marketing and sharing....learning to teach...

We have also learned about such things as patience, discipline, integrity, appreciation, and the spiritual and philosophical aspects of turning. About form and design... the sensual appeal to both eye, and hand, of our work.
We have earned a degree in turning, at the very least.

Now, The Journal of the American Association of Woodturners chooses as a representation of the pinnacle of our craft, "Hollow Faceted Chunk". As you look at this cover photo, can you see all of the schooling metioned above in this astist's work? The natural beauty of the wood exposed...the careful attention to form, design, and detail? The painstaking approach to finish?

Are we inspired by this? Are we challenged to attempt going to this level of our art form? Are we proud, as woodturners, to have our publication represent us this way to the world? Are we so bent upon creating something that doesn't look "turned" that we accept such featuring as "high art"?

I don't know the answers to these questions. I know that what I do in my shop pleases me and brings acclaims from all who see and hold my turnings in their hands. I think if I handled "Hollow Faceted Chunk" I would get charcoal (or something) all over me.

On page number 1 of the Journal, about the Instant Gallery, panelist
Stephen Hogbin is quoted as saying..."Titles are really important." Stephen added, "The title can be quite magical and reveal what the maker was thinking about." Thus friends, you are given..."Hollow Faceted Chunk"!

Pretty magical, huh?

Mike Jones (in an Andy Rooney kind of mood)

 

[Charlie Knighton]

basic black

i liked the pictures on the front and the back of the winter edition of AW, i had seen a post about the SOFA exhibit so i was excited to read the article

i am just learning how to use black, i have never done a whole turning in black but have used it to accent,

 

[Ed_McDonnell]

I'm trying to look beyond my personal like or dislike for the cover piece (I actually like it). I honestly can't think of any sort of a credible argument that would justify the choice of this particular piece for the cover of American WOODTURNER.

I look at Hollow-Faceted Chunk and I see a sculpture that was largely the product of tools and techniques that mostly (entirely?) did not involve a lathe. This sculpture has a minor embellishment that may or may not have been created by using a lathe. I honestly don't see how this piece could ever be considered a woodturning, even if a lathe played a minor role in embellishing it. (If the facets were created using multi-axis turning instead of a chainsaw, I would feel differently.)

I look at the back cover and there is no doubt in my mind that what I am looking at is a fine example of woodturning. It is highly embellished, to the point that the embellishment took much more time and probably a lot more skill than the turning, but at it's heart it is a turning.

I am glad that the journal is "about all styles of turning not just honey dippers, bowls, and spindles, and rolling pins." I certainly don't pretend to be able to clearly distinguish exactly the point at which a piece of art no longer qualifies as a turning, but there is no doubt in my mind that the object on the cover is not a turning. It's not the fact that it is black. It's not the fact that it isn't round. It's not the fact that it is roughly textured. It's the fact that I don't think it was turned.

Trying to expand the public's appreciation of turning as an art rather than just a utilitarian craft is a noble objective. In my opinion, placing a non-turned object on the cover perpetuates the stereotypical view that real art isn't turned. Placing a non-turned object on the cover of our journal isn't advancing our cause.

Ed

(I'm assuming the facets are not turned because they don't look turned in the picture and the artist is known to favor a chainsaw for creating his work. If I'm wrong and this is an example of multi-axis turning then accept my apology.)

 

[Richard Baker]

Well, yeah it seems that Ed makes a good point in his last paragraph.

 

[Michael Kuehl]

My guess is that this is not a multi-axis piece, but that the facets were cut after the piece was turned. As to the title: A title should enhance our understanding of the piece, the artist's intent in creating the piece, what the artist was expressing. Somehow, Hollow-Faceted Chunk just does not add to my understanding or appreciation of the piece. What really interests me if the vibrancy of the red against the burnt black.

 

[jdsilwones]

Pay attention

I think you folks missed the boat on this one. Did any of you read more then the title of the article or did you just look at the pictures?
Alan immediately sets the stage with his observations on the effects of ebonizing wood, how the grain, pores, and shape of the work are accented, often dramatically (if we don't glue and fill in the nature of the wood).
Now take another look at the cover picture and tell me there is any more obvious example of how ebonizing can do this.
Whether I like the 'Chunk' or not doesn't matter, in it I can see all the fascinating possibilities it (ebonizing) promises.
Bravo! to Mr. Lancer and Mr. Voss.

 

[Ed_McDonnell]

I'll pay attention if you'll read what's been posted.

If the magazine were the American Ebonizer then "Chunk" would be an excellent choice for the cover and your defense of the choice of "Chunk" for the cover would actually make sense.

Sadly, it isn't and it doesn't.

I have no problem with the piece in the article. I just don't think it belongs on the cover of American WOODTURNER.

Ed

 

[George Guadiane]

If the magazine were the American Ebonizer then "Chunk" would be an excellent choice for the cover and your defense of the choice of "Chunk" for the cover would actually make sense.

Sadly, it isn't and it doesn't.

I have no problem with the piece in the article. I just don't think it belongs on the cover of American WOODTURNER.

Ed

OK, I STILL don't have mine, but what WOULD be a good cover??? A bark edged bowl every time?
None of these things are tattoos, they are pages everyone, if you don't like what's on it, turn it over... I hear the back page really rocks.
I'm just sticking my oar in to stir up the waters, I don't think this is ANYTHING like the global warming thread, too tame

 

[57_T-Bird]

Cover Picture

It made me think.
Therefore, inspirational.
So I approve.

Soichiro Honda said he didn't want eveyone around him to think like him. Diverse opinions expand our own vision.

T-Bird

 

[Jake Debski]

John Lucas, is spot on. I don't "like" either piece front cover or back. But I spent a lot of time studying both because they came from a place in a someone's creative mind that I may never be able to experience in my own.

 

[jdsilwones]

Not yet George?

George, I'm about ready to mail you mine if you don't get yours soon. Postage paid, overnight. Just say the word.

 

[Barbara Gill]

I happened to like the cover. And if I didn't so what?

Good grief it seems as if there are a lot of people who need to spend more time thinking positively and not getting off on all this nit picking, bickering, fault finding. You all must have a lot more free time than I do.

 

[George Guadiane]

George, I'm about ready to mail you mine if you don't get yours soon. Postage paid, overnight. Just say the word.

That is very generous but unnecessary! I appreciate the offer. I'm beginning to wonder if I already got my membership allotment and that I need to renew in order to get this one???
Again, thank you!

 

[Bill Grumbine]

Well it is black. And I suppose you could say it is art. It might even be whimsical. I don't think it qualifies as turning. I can't see very well into the red part, bur for all I know, if could have been shaped with a Forstner bit on a drill press. Anyone who knows me even a little bit can probably guess the details of what I think about it.

Write a board member to express an opinion? Waste of electrons. I'm still waiting to hear back from Bill Haskell on the global warming thread. I sent him a private message. I suppose I could have written him directly by using his email in the resource book, but now I am interested to see how often a board member checks into the AAW sponsored forum. After all, if he is so interested in the AAW, this forum is a part of it, right? Of course, the possibility exists that he has been here, and my PM is beneath his notice. But that counts for the same in my book.

Oh yeah, I forgot to add - people are expressing their opinions here again, but it seems like people with different opinions are getting their hackles up at some of the differences. If someone doesn't want opinions expressed about their work, they should keep it in the closet. And, if someone can't stand to read an opposing view, perhaps they should not click on these threads.

Bill

 

[jdsilwones]

What's a nit again?

Come on Barbara, this isn't "nit picking, bickering, or fault finding", this is good old discussion the way non-politicians do it, with a little common sense, lots of opinion, and a bit of ornery thrown in to keep it interesting. Let us have our fun. BTW, not only is it entertaining, there are some good points brought out now and then.....like mine.

 

[Barbara Gill]

Come on Barbara, this isn't "nit picking, bickering, or fault finding", this is good old discussion the way non-politicians do it, with a little common sense, lots of opinion, and a bit of ornery thrown in to keep it interesting. Let us have our fun. BTW, not only is it entertaining, there are some good points brought out now and then.....like mine.

LOL you have a point but it seems as if all these "discussions" soon become confrontational.

 

[Ed_McDonnell]

Thinking outside the bowl!!

Paraphrasing one of the popular buinsess cliches, I decided to think outside the bowl in my shop this morning and I had an epiphany. One of the mysteries of art is where to look for inspiration. Often inspiration arrives when least expected.

Art Basel is a world renowed showcase for modern art that is a South Florida happening this time of year. The forum discussions regarding enviromental responsibility and the evolution of our chosen art form (as represented by the winter cover) when contemplated within the framework that represents the cutting edge of modern art (as presented at Art Basel) has inspired me to push my personal art to new limits.

I have just completed the first in what will be a new series of statement art pieces. I have titled it Globally Warmed Eden. It was 100% created on the lathe, and embellished with various coloring mediums. It is intended to provide a window to the future showing the simultaneous evolution of the planet and our art form. ENJOY!! I'm off to the local galleries to shop it around.

Ed

 

[Jim Stoppleworth]

Ed,
I'm sure the first in the series is already spoken for so keep me in mind for the next one. Might I suggest that curls of colorwood would heighten the dramatic effect you were after.

Would I be plagarizing if I created a turning of this nature?


In my shop (where a broom is quite the stranger) there is plenty of material for this style of cutting edge turning!

Jim

 

[Garmar]

Ed, after seeing your latest "creation" I now have more insite into the entire matter. I first saw the picture in the photo section, not the forum. I was quite concerned about your sanity until I read this thread. Now that my blood pressure and pulse are under control, I must congratulate you on a VERY symbolic and sardonic masterpiece. No one, and I restate NO ONE, has captured turned shavings as you have. Bravo!!!!

 

[Mjonesrdg]

Masterfully created.

Tue December 11, 2007 8:28am


I LOVE IT! I APPRECIATE IT!

The suggestion of a pair of pliers, pointing tantalizingly away from the horizon line leads the viewer to question the directions taken by mankind in the past and toward an uncertain future. This work provokes a comfortable sense of having experienced it...perhaps in another incarnation...and enjoyed then, as now.

As we have learned, the title of a piece is nearly as important as the work itself...might I suggest, "Eden; Globalamente Scaldato" (Italian) or, "Éden globalement chauffé" (French)...as a vehicle to bring a little extra magic to this otherwise superb piece(s).

 

[john lucas]

Ed It's all in how you market the piece. You have a successful statement in that piece and the possibility of multiple piece series is definitely there. The piece on the cover of the magazine was marketed successfully so all you have to do is follow suit. My question is, are you sure you can handle the pressure of being known by collectors for this style of work. You will have to produce this series for a long time.

 

[Martin Braun]

I love the thinking outside the bowl piece above! That was a great idea! However, I would have gone with red or florescant green paint in the middle instead of the orange

To be honest, I kind of liked the cover, and I have a piece of wood very similar to that in my garage. I was going to do the same thing to it, but more for fun than anything else. I'm probably going to put a few more 'holes' in it too - multiaxis style.

It's got to be fun to make people! You have to at least admit that - a lathe, a blow torch, spray paint, if I was a teenager I probably would have made 10 of them by now and given them away to friends. For this one, maybe the enjoyment isn't so much in the end product, but in the journey? The best part is if it doesn't come out exactly how you planned, who's going to know?

 

[Martin Braun]

The suggestion of a pair of pliers, pointing tantalizingly away from the horizon line leads the viewer to question the directions taken by mankind in the past and toward an uncertain future.

Pliers? What pliers? Damn! Is this like one of those 3D pictures in the Sunday comics that I can never make out?

 

[Mjonesrdg]

Pliers, bowl gouges, whatever!

Looks like pliers at first glance...the beauty of this work, is that, the more you look, the more you see!

 

[57_T-Bird]

More on Basic Black

Ed, got a good chuckle from your piece.
Wikipedia defines art (in part):
"... may be characterized by the intentions, or lack thereof, of its creator, regardless of its apparent purpose."
Art? Why sure.

Interesting that the AAW apparently didn't include "Chunk" in the SOFA exhibit. As per the November 2007 AAW Board Letter:
http://www.woodturner.org/info/news/letters/11_07_board_letter.html
Here's the paragraph giving credits:
The AAW once again had a presence at SOFA with a booth hosting the “Basic Black†exhibit which included pieces by Sharon Doughtie, Gorst duPlessis, Liam Flynn, Mark Gardner, Matthew Hill, Todd Hoyer, John Jordan, Mary McKinney, Betty Scarpino, David Sengel, Hayley Smith, Al Stirt, Jacques Vesery, and and Molly Winton. There was a gallery talk on the basic black theme presented by Irish turner Liam Flynn and Alan Lacer.

No credit for the creator of "Chunk."
However, the Journal article is a reprint from the SOFA catalog. Does that mean the words only? Were the Journal pictures also in the SOFA catalog? Including "Chunk?"
Inquiring minds want to know...

T-Bird

 

[Gretch Flo]

Ed's art

Pliers? Where? too many fenestrated, lacy lizard tails must be covering them up!!! Gretch

 

[Martin Braun]

Hmm... could it be this was a man simply ahead of his time?

http://www.themintmuseums.org/mason/masonsite/partridge.html

This link has a similar piece dated 1987 if I'm reading it correctly. Seems this is a theme he has been working for quite some time.

http://www.zimmerstewart.co.uk/Jim-Partridge.html

http://www.24hourmuseum.org.uk/exh_gfx_en/ART19317.html

 

[pfduffy]

Journal cover

I looked at again and again, wondering what was it that was catching my eye. Lucky for me it came thru -- the red on black. Artistic expression is what I thought and then put the mag aside. Sure did stir up a mess of comments, didn't it? Philip

 

[Ed_McDonnell]

First, let me say thank you for the enthusiastic response to Globally Warmed Eden. It is really heartwarming to know that your work is appreciated by so many people on so many levels.

The issue raised by T-Bird is interesting. Why did "chunk" grace our pages if it really wasn't part of the exhibit. It could be as simple as Alan wanting a piece that showed a certain aspect of ebonizing included in the AAW article. But then why put it on the cover of American WOODTURNER? I think there are bigger issues at play here.

When I read the Larry Sommer piece a little warning bell went off in my brain as I read the last paragraph on globalizing the AAW. When I factor in the placement of "Chunk" (created by an englishman) and combine that with Angelo's "collector of wood art" essay a screaming alarm siren went off.

Is it possible that the AAW will someday soon morph into the IAATSDSWW?

(International Association of Artists That Sometimes Do Stuff With Wood)?

Will woodturning soon become just a footnote to the history of this organization? Will woodturners who pursue woodturning just for the joy of turning with no desire to enter the art / gallery / collector scene be forced to band together into a new organization that is more like what the AAW used to be before "growth", "art" and "collecting" took such a prominent role in things? Can the AAW really be all things to all people or will that strategy result in an organization that is irrelevant to most?


Ed

 

[Charlie Knighton]

which piece holds your attention???

any idea of $$$ bid for either the piece on front or back???? the chuck piece is very irregular in shape not color while the rippled form has great form and regular detail (i would hate to know how long the detail took) and color

i keep going back to the irregular shape to see something i had not noticed but the rippled form does not hold or bring me back

 

[Mr. Don]

Cover(?)

Gimme a minit....gotta run down to the shop and sift thru the remnants of my last woodstove fire, to see if I can find a knot that is black, and grab a few rattle-cans of paint...got red, yellow, white, green, etc. also some "day-glow"....should be able to create a "work of art" (who-ever he is!!!) that is worthy of front page viewing!!!! Gawd, finally, I are a TRUE artiste!!!!

 

[Garmar]

Amen, Brother!!!!!!!!!

 

[Owen Lowe]

Gimme a minit....gotta run down to the shop and sift thru the remnants of my last woodstove fire, to see if I can find a knot that is black, and grab a few rattle-cans of paint...got red, yellow, white, green, etc. also some "day-glow"....should be able to create a "work of art" (who-ever he is!!!) that is worthy of front page viewing!!!! Gawd, finally, I are a TRUE artiste!!!!

This coming from the guy who entered the following in a woodturning challenge wherein the only turned element was the antenna thingies sticking up:

 

[Ed_McDonnell]

I am almost (but not quite) left speechless by the picture of Mr. Monster. Artistic creations are really windows into the souls of their creators. While this particular window may have benefited from a cover of thick winter frost, there is no denying that having gazed through it I am changed forever.

Ed