Why are we so interested in art that is "new"?

Recently I have been doing a lot of thinking about the dilemma between creating a body of work versus the urge/need to create something "new." Certainly there is a lot to be said for a body of work--there is the old adage that "Practice Makes Perfect." If you hope to support yourself selling the work, then customers need to have the reassurance that they are going to get what they want. This is especially true if your customers--like mine--may take years to finally have the space and money for one of my pieces. I believe in the business world, this is called branding.

Indeed when I apply to craft shows I usually have to show 5 slides showing this work. Because this body is juried as a whole, I have learned it is important to have the slides be closely related so they can be read as a statement in the 3 or 5 seconds the jury may have to observe my work.

On the other hand, show directors, gallery owners and even the general public like to see something new. Indeed there are shows that I believe I did not get into because my work wasn't "new" enough. I recently had one customer ask me if I didn't make something different--even though he hadn't looked at my work for over a year and almost every quilt in my booth was "new".

Now I will be the first to admit that I have rolled my eyes--politely of course--at the numerous artists I know who had one great idea maybe 20 years ago and have been selling it--quite successfully I might add--ever since. Why--I would wonder--can't they come up with anything new? When they did present a new concept, it just never worked as well as the old concept.

Yet now that I am feeling that I am becoming one of those people without even knowing it, I wonder if I am giving them short shift. Let me explain. Certainly I use one concept--quilts made in blocks using a method I call quilt as you go to create abstract landscapes. ( Regular readers of my blog do know my technique--or check out my quilts at my web site http://www.annbrauer.com). Within the confines of this process I am actually always pushing myself to say new and different things. For instance I began by making this work--views of spring--a few years ago.

Wonderful piece. It took forever to make.  It helped me win an Award of Excellence at the American Craft Council Show in Baltimore back then. I tried numerous variations on the form and the colors until I learned all I could from the piece. Then a couple years ago I figured how to simplify it by making prairie dawn.

Again--a great piece. I made a number of similar pieces to understand this piece. But it could be even simpler--so this winter I made prairie sky.

For me, I think of these quilts as new approaches to similar feelings of sun and sky. The time between making the first and the last was actually several years. Each quilt presented new artistic challenges and questions. Certainly the work can easily be identifiable as my work. And yet I can understand why--even though these quilts are part of my same body of work--others may think that I am not creating new-enough work.

Now I do also know and admire those who are challenging themselves to create totally new work. One quilt maker I know took an entire year off to learn how to felt. Her new work is wonderful and I so admire her effort. Another friend--a weaver--is now working in sculptural glass while retaining the feeling and memories of weaving--amazing work. How brave these women are!

But I am not sure this is for me. At least not at this point in my artistic life. I still have much to say with my current techniques. I just wish that those seeking something new would also consider the body of the work. What do you think? How do you approach the dilemma between new and having a body of work? Is it even a problem for you?

more National Building Museum

OK--my love affair with this building continues as I learn more about it.

For instance DC can be really hot in the summer and the building was constructed before air conditioning so all windows open. The plan is for cool air to enter at ground level and the hot air to leave at the top of the ceiling. Simple and efficient wouldn't you say.

I love these columns--it turns out they are about 75 feet tall and each one is made from about 70,000 bricks. This is the view from the third floor balcony.  Elegant isn't it?

They are topped with a wonderful elaborate cornice. Don't you just love all of these curves and fronds?

Around the the balcony on the third floor are bowl-like structures with eagles.Need I say more?

Looking down from the balcony you can see the fountain in the central court and the carpet with an oriental design on the floor. My booth is just off from this picture.

Yet despite all of this elaborate ornamentation, there is also a simplicity of shape and structure that I find relaxing. For instance, look at these lovely shapes in the ceiling of a hallway. Aren't they glorious?

Or these arches and more arches going into the rooms that I presume were once offices.

 Isn't it wonderful when a building can keep showing you more and more about itself and make you observe your surroundings with greater care? I also do love the fact that it was built with a budget in mind. The architect was trying to meet the needs of the widows and pensioners from the Civil War--for instance I just learned that the reason the steps are so short and wide was to make it easier for the pensioners to climb them. The steps were also built so they could be hosed down when needed.

So much to see and I haven't taken any pictures of the outside. What do you think?

an ode to the National Building Museum

Some buildings are just so fabulous it is a treat to be in them day after day. The secrets of their design unfold as you study them and live with them. The National Building Museum where the Smithsonian Craft Show is being held is one such location.  Just look at the large fountain in the central courtyard which is only a couple of booths up from my location.

The arches stretch up to a magnificent ceiling with more arches, light and windows that open to provide air circulation.

Isn't that view truly awe inspiring? Here is a view from another angle.

Look at the detail and gracefulness in these windows.

And this is the hallway around the outside of the great room. I quickly walk around the outside of the show when I need more coffee.

Even the base of the columns have ornate terra cotta designs echoes throughout the building. The columns themselves are made of bricks covered with plaster made to look like marble. I just read that more than 15,000,000 bricks were used to make this building.

Another of my favorite details are the terra cotta steps slightly worn and softened with age. Aren't they glorious and so human with their patterns.

And here is a shot of my booth against its back drop. What more could I ask for?

Maybe today I will take pictures of the light streaming in from the windows--there are about ten minutes every day when my booth seems aglow. There are also views from the balcony. So much more to explore.

Can you believe it was build at a cost of less than $900,000 between 1881-1889 for the Office of the Pension. There is much more information at http://www.nbm.org/about-us/historic-building/nbm-quick-facts.html

Have you ever been here? Seen it on TV--once you know what it looks like--many famous events are held here from Hillary's concession speech to President and Mrs Obama's first dance at the Inauguration. Heads of state meet here. There is even an exhibit on Parking Garages. Do you have a favorite buildig?

John Gerrard at the Hirshorn

Today after setting up for the craft show, we went to the Hirshorn Museum in Washington DC --I do love this museum, so simple and elegant. Lots of wonderful work. Frank Stella, Sol Lewitt, James Turrell, Rothko. But I thought the most amazing exhibit was by John Gerrard--an Irish born artist I had not previously heard of.

He manipulated still photos into a panoramic movie showing landscapes and the passing of time in three separate movies--one of an oil derrick, one of a pig farm in Oklahoma and also a dust storm in Colorado that seemed to roll in and give the terror and immensity--is that a word--of the prairie and the force of nature in total silence. Sitting and watching the movies and the different but slow progressions against a prairie landscape was absolutely amazing. The colors were so subtle.

Oh I do see quilts from these images. Have you seen any great shows in museums recently?

If you happen to be in DC before May 31,  I strongly recommend this exhibit--you do need to sit through the movie to see the changes.

http://hirshhorn.si.edu/exhibitions/view.asp?key=19&subkey=411

Smithsonian

Driving down to Washington DC today so we can set up for the Smithsonian. Very excited and more than a little nervous--will they like my new work? Did I make the right colors? What did I forget?

I didn't have time to make another large prairie sky so I made this mid-size piece.

What do you think?  If you are in the area, do stop by. The show is in the National Building Museum in Washington DC April 22-25. http://www.smithsoniancraftshow.org Tickets are discounted through Tuesday.

hills and shadows--TA DA!!!!

I love getting the images of my quilts taken--the first time I get to see a big piece in its entirety. And my photography John Polak is great. Here are the images--the curves are indeed there. What a relief--no pun intended. Yes this quilt is hanging straight!!!  Now to decide which way to hang it.

 Or this way.
 

So many design possibilities.  I can't wait until I get a chance to make another one. What do you think?

success

So have you ever tried to get a particular look--really struggled with it--and then realized that you did in fact succeed without even knowing it.

For those who have been following my struggles making this big quilt, you will know I was trying to get the effect of curved hills. I played lots of games with piecing and color shadings to get the overall look until I was ready to just admit that the colors of the quilt were great and that it was time to move on.

Silly me!!!

 Looking at the close-up snapshot of the quilt I posted yesterday I realized I did get the feeling of motion and curves that I was seeking. The quilt in the picture is hanging almost flat--the movement and folds is due to the piecing--not to how it is hanging.

Now I can't wait to get the piece to my photographer to get its official portrait so I can learn what I did and how to take it to the next step. Let me raise my cup of coffee as a toast.

joy and fun

Recently I've been thinking about the difference between joy and fun--not only because it's finally spring and I'm ready to have FUN but also because I do need to finish the big quilt--I have to sew the Velcro on to hang it. Boring--but it does make a nice presentation. Then clean it up --check for odd threads, the once over. And that's also not fun--just picky (sorry for that pun.)

Sure I baste the Velcro onto strips of fabric before sewing them onto the quilt--but it's hand sewing--and a lot of it. UGH!!! And I've already done a lot of hand sewing finishing the back of the quilt. Do I complain too much? When I finish, I'll have an empty design board--a bit scary. So that's why it's not done yet. Today though it won't be fun.

Now I'm not thinking of the fun that we all need. Niche on their Facebook page recently reminded us  that we all need to have real fun every day--smell the roses, live each day like it's your last. Choose your cliche--I couldn't agree more. (Do check out their post. http://www.facebook.com/#!/NICHEmag?ref=nf)

Indeed the least productive person I know claims she works from 8 in the morning to 10 at night--no wonder she never has enough time. She is always harried--no time for fun. Not me--I'm a 9 to 5 type of gal. I like my fun too.

So let me explain a bit about the difference between joy and fun. I think of my dad--a farmer. I'm sure plowing the fields day after day was not fun. I tried it. Indeed I tried to make it "fun" by steering off to the side and then pulling back. I was young then. Needless to say, he didn't think this was fun--or funny. For him there was joy in seeing the corn in true straight lines. The subtle differences in the fields. The completion of the harvest. And yes, he did have real fun-- taking my sister and me fishing on the river--ugly catfish that tasted of the river bottom--but what a day.

So today I'll crank up the radio--hopefully Diane Rehm will have an interesting guest or two--and get the quilt done--now that'll be true joy.  Showing a complete body of work--true joy. Knowing that I can now make another new quilt--joy. And tonight--after work I'll weed my day lilies while my tuxedo cat watches oh so patiently. True fun. And later the joy of blooms.

So what do you think--do you deal with the difference between joy and fun? What is joy for you?

upcoming shows of Ann Brauer

Wow--all of a sudden it's spring. Daffodils, forsythia, the chorus of peepers. This year it happened so quickly--one day there was snow on the ground and brown--the next day the grass was green and I was planting my peas.

I've been so busy I barely have time to observe the changes except in the small wonderful ways--the door to my studio is now open, I can hear the rush of the river. On the way to the post office I can walk across the Bridge of Flowers in beautiful Shelburne Falls.

Later this month I am honored to be doing the Smithsonian Craft Show at the National Building Museum in Washington, DC April 22-25. This is one of the premier shows in the country--over 1300 applicants for 125 spaces. Needless to say I was surprised and excited to get in and have been working non-stop to get ready. If you are in the area, check it out. http://www.smithsoniancraftshow.org

Then I will be in a lovely two woman show--A Sense of Place--at the Blue Stone Gallery in Milford, PA April 30-June 6. I am looking forward to seeing the work of Karen Henderson who has some wonderful subtle takes on landscapes. Check it out http://www.bluestonegallerymilford.com

For those in the Boston area,  watch for this quilt on Channel 5's Chronicle--they came out to western Massachusetts to film Josh Simpson and other artists in Shelburne Falls. They even stopped by my studio. This was a favorite piece--see if it is included. I'm not sure when it'll be aired yet--I'll try to let you know.

Then I have the Paradise City Arts Festival at the PA Convention Center in Philadelphia--but more on that later. http://www.paradisecityarts.com

the endless "endless fields"

OK--I have been working 10 hours a day--every day--on the new quilt for the Smithsonian. Choosing the colors, getting the colors to go from dark to light-- each row a different color--but enough fabrics repeated so the quilt will hold together. "Endless fields" is the name of the quilt--and it sure feels endless right now.

Every bone in my body is tired--my back hurts, my feet hurt, my hands hurt. I am tired of making decisions. How slow it seems. How many more blocks to make.I try not to think about it. I complain but I do love my work.

I know this part of the quilt will look great when it's sewn together. Now comes the real fun part--how to get the rolling hills that I dream of for this quilt. Let me explain a bit.

I like the way the road turns in this quilt--"bend in the road".  I am intrigued by this piece. Will rows of the bends be too much? Or will they be interesting?

Luckily my studio is fairly large and I can pin pieces up and squint. Sometimes I take pictures with my camera to get more distance. Drawing doesn't help me--but I can also see images of the quilt when I shut my eyes.

Or maybe I can make the pieces darker like this.

Or should I have the pieces move slightly as they might in "real" life?  Is that too busy?

So many choices. I will think about it at 6 am. I think I know what I'll try first--after I buy more fabric of course--what would you do?

endless fields--the quilt that took on a life of its own

OK--the question is have you ever had a quilt that has taken on a life of its own? It refuses to wait its turn but demands that you make it right now.


Let me set the stage. First you need to know that I am fortunate enough to be doing the Smithsonian Craft Show this April 21-25.  This should probably be in all caps with exclamation points since this is not just a craft show, it may be THE craft show. It is incredibly hard to get it. Set in the National Building Museum in Washington, DC--an absolutely spectacular location with tall pillars, a gorgeous carpet and lots of history. Some of the very very best craft artists in the country are in this show with work so fine it takes my breath away every time I see it. The finest porcelain. Paper cutting so delicate it seems woven. I could go on--but check out the website for yourself:
         
                                      http://www.smithsoniancraftshow.org

As a friend of mine says you want to show your most stupendous pieces there.

And to make matters harder, I sold the quilt I had been using at the back of my booth in Baltimore. Not that I'm complaining--trust me, I'm not. But still--I need to make a new piece and I need to do it soon. There is no room for mistakes or error.

Obviously prairie sky is a great quilt that few have seen--you may remember it from my most recent blog.

I figured I already know lots of the secrets of this quilt, it would look great in my booth. A no-brainer. So, I buy all sorts of wonderful blues, purples, teals. Lots of stars. I am all set. I just need to pack and ship one small order and then I can start. Right?

Wrong!! Because of course on the drive back from shipping the order, was my mind thinking about prairie sky and how I could start making it? No, of course not. I kept thinking about the new quilt--endless fields--which I have never made before--I have never even made a quilt like this before. Each piece has to be significantly different from its neighbors--while still also being related to it. There are more than a dozen colors all with their own color progression. Design questions that I can't begin to know the solution for just yet.

Sure there are parts that I know. This is a quilt I have been pondering for years.

For instance "rivers of autumn" has great diagonal stretches of color. A good sketch for this quilt.

And the fields in "red barn, blue silos" though these are not the colors I have in mind. And I certainly don't want a barn or even the sky. Just fields this time.

And a couple of great great grand quilts--I guess you might call them--so old that they don't have digital images. But I am hoping I can remember bits and pieces of them as I work.

So why does "endless fields have to be made now? Am I a fool not to just tell this quilt "No, not now."
Has this ever happened to you?