58 Posts in this thread. Respectable indeed.
I found my way here through a link that someone had posted to by
blog, conceptualmetalsmithing.com. Though it may or may not hold
sway here, on my blog I employ cold rational critical thinking to
wade through issues relating to the field of metalsmithing. I have
frequently bashed academia for their short comings (as in this
performance - YouTube). And I have
also written on the difficulty in limiting the scope of metalsmithing
to exclusive definitions (Loc99Vip - Top 10 game bài đổi thưởng uy tín 2022).
There are a few things that I wanted to say after faithfully reading
all 58 posts. So here we go:
- Get involved
As a general rule, it is much easier to throw mud, than it is to
clean up. There has been, what I feel, is an inordinate amount of
mud thrown at SNAG and at Metalsmith. It is very easy to post here
about what SNAG is doing wrong, but very few people posting here seem
to be interested in changing those things that they don’t like. SNAG
is a member run organization, so if you think it misrepresents you or
you would like to see change, then you have the option run for office
and legislate those changes yourself, or to contact the officers of
the organization to express your dissatisfaction. For your
convenience I have included a few of them heRe:
President: Kris Patzloff - kap12 at humboldt dot edu
Presdident Elect: Harlan Butt - butt at unt dot edu
Executive Director: Dana Singer - dsinger at snagmetalsmith dot org
(note: both president and president elect are academics by their.edu
addresses)
It is truly the mark of a lazy and apathetic person to criticize
without participating. It is this mentality that has brought our
country to its current political state of affairs, one in which the
government can act with impunity, and without the fear of
accountability to its citizens. Don’t be that guy.
Further, Metalsmith frequently publishes letters from readers. If you
are dissatisfied with the content of the magazine you should email
the editor, Suzanne Ramljak - editor at snagmetalsmith dot org.
There is also an editorial advisory board which is composed of Sharon
Church (Professor at University of the Arts - Philadelphia), Kim
Cridler (Assistant Professor at University of Wisconsin - Madison),
Ursula Neuman (curator at the Museum of Arts and Design), Mija
Riedel (writer and photographer), and Sandra Zilke (SNAG Board
Member/ Liaison). These people, the editor, and the contributors are
responsible for the content of the magazine, not SNAG as an
organization. If you have a problem address it to the proper place.
All of their names are on page 3 of every issue.
FYI a one year subscription to Jewelry Artist is $30, one year of
Metalsmith is $34. How do you figure you are getting ripped off?
American Craft is $40! For $45 more dollars you become a member of
SNAG at $79, which pays for itself in a reduced conference fee, that
is if you go to the conference.
Additionally, Metalsmith will shortly be undergoing a facelift,
courtesy of Pentagram, a New York graphic design firm which
specializes in print design. They are doing the work at a
substantial loss to their business because they like the project.
They are able to do this because of the corporate structure of the
company, which pools the profits from all current projects. From this
pool they pay their employees and then the partners draw their
salaries based on the remaining money. That means that the partners
of one of the most prestigious print design firms, not in the
country, but in the world, believes enough in Metalsmith to have less
money in their pockets at the end of the day. I have to say…when it
comes to print, it will be Pentagram’s word and not Ganoksin Forum,
whose word I will be trusting as to what constitutes a good magazine.
But you decide for yourself.
- Exhibition in Print itself
EiP is an Exhibition in Print. Hold on now… That means that it is
first an foremost an exhibition. Each year it is either juried or
curated according to the vision of the juror/ curator. This year’s
guest curators were Rachelle Thiewes (Professor at the University of
Texas - El Paso) and Kate Bonansinga (former art historian and
current Gallery Director at the University of Texas - El Paso). How
could you possibly be upset with Metalsmith for the vision of a
curator? Would you go to a painting exhibit at a museum and expect
technical content about how to paint? That is preposterous! You go
to a class to learn how to paint, you go to an exhibition to view
work. Please, I implore you, take the time to understand what it is
you don’t like and why, before you decide you hate it. Personally, I
was not enthralled with this year’s EiP. I felt it was very short.
The curatorial theme of the 5 senses was interesting, but the work
did not always coincide with the lofty intent of the theme. Ms.
Bonansinga’s introductory essay referenced metaphysics (philosophy)
extensively, which probably alienated many readers needlessly. Also,
there were a couple typos. Ooops! There were several pieces that I
found outstanding (Damian O’Sullivan’s Eye Patch, and Lin Cheung’s
Optimist and Pessimist) while some other pieces really didn’t do
anything for me (Reka Lorincz’s Ear Piece especially). But that is
like almost any exhibition I have ever been to. If I saw this show
in a gallery I would probably would have said it was good, even
better than most jewelry shows I have seen. As someone who demands
good titles, I found Equilibrium to be unhelpful in so far as it gave
the reader very little insight into the work, though it was
informative in an indirect, tongue and cheek sort of way.
- A name change for SNAG?
I have advocated a name change for SNAG since the idea first reached
my ears. SNAG Board member Sandra Zilke had a forum on the SNAG
website for several months allowing people to express their opinion
about a name change. Most posts reflected the membership’s desire to
hold onto tradition and to our association with goldsmithing, though
it is clear the scope of the organization has made our name
painfully inaccurate. Most SNAG members have their identity as makers
invested in the traditions, materials, and skill sets of the
goldsmith, the metalsmith, and the jeweler. However, I believe a new
name for SNAG that would include the word metalsmith (not the limited
definition expressed on this forum, but an inclusive and open ended
definition) would serve the organization well. I look forward to
seeing if in the future, artists, sculptors, jewelers, vessel makers,
academics, gallerists, writers, curators, collectors, hobbyists, etc.
could unite under such a controversial label as “metalsmith.”
- Academic Jewelers and Art School Skills Sets
If I can explain the reason for such extensive academic involvement
in SNAG in a word it would be tenure. As the foremost professional
organization for Contemporary Studio Jewelry and Metalsmithing
academics are obliged to get involved to advance their academic
careers. There are three “pillars” of academia, those being
teaching, scholarship, and service. Most often service beyond the
institution, to the professor’s field of expertise, is an implicit
expectation by their promotion and tenure committee. When an
Assistant Professor applies for tenure, they better have some
professional service on their record to bolster their application if
they hope to get tenure. Therefore, SNAG is teaming with academics.
There it is plain and simple. SNAG has roughly 3,000 members, and
studio Jewelers make up the largest percentage. I don’t have the
numbers unfortunately. While this arrangement does not serve the
membership exceedingly well, it explains why academics run the
organization; they are compelled to volunteer so they can survive
professionally.
In regards to academics, not needing to be commercially responsible
or viable, I would add that most academics do take some income from
their work. There are many galleries that make boat loads of money
from both studio jewelers and academics. Have you ever been to SOFA?
(Sculptural Objects and Functional Art)
Speaking to the claim that art schools do not prepare students for
the commercial environment, I was educated at a University Art
School. After school I went on to work at a boutique jewelry store
where custom work and repairs often accounted for 50% or more of
gross sales. In four years, I worked my way from the sales floor to
the bench, and eventually to assistant manager. My college education
gave me adequate fabrication and bench skills to perform my job
doing all manner of basic and advanced repairs. My major weakness was
stone setting, which in 3 months time was remedied under the tutelage
of the goldsmith/owner. He was extremely happy with my skill level
and design ability. One major advantage that my art school education
brought to the store was my forming experience. My ability to work
with hollowware and fabricate large silver pieces brought in many
commissions during my tenure at the store, as we were the only
jewelry store in town who that could execute complex or large scale
silver repairs and commissions.
To say that an Art School metals education will not serve a student
in the commercial jewelry sector is a fallacy. Before undertaking
any course of study one should research the program, the faculty, and
the curriculum. Certainly some schools prepare students better than
others. I value the liberal arts education that was required with my
BFA, but that may not be relevant or even advisable for every
potential jewelry student.
- SNAG Asking for Money
I also feel compelled to elaborate on the comments made about SNAG
asking for money. The truth is that SNAG did send letters to all of
its members asking for donations to help keep the organization
afloat. The reason SNAG is in financial trouble is because they
hired a 3rd party consulting company to manage their subscriptions of
Metalsmith earlier this decade. The company did a horrible job,
which resulted in many years of free Metalsmith for many members, and
the loss of 10’s of thousands of dollars. This is certainly not the
fault of the members of SNAG, but it necessitated the appeal for
donations. To their credit, SNAG has since consolidated their
offices, cut its annual budget dramatically, and brought subscription
management in house. They are using membership fees wisely fo’ sho’.
The SNAG board now pays for all of its expenses including travel to
their own meetings cross country. I proudly donated $30, about the
price of a 1 year subscription.
- Dear Mr. James Binnion:
Thank you for your thoughtful post that has sparked this lively
conversation. As a member of SNAG it is important that you express
your opinions, because without decent, I honestly believe that
academics would over run SNAG. Perhaps we are on the verge of that.
Perhaps it is you that should be leading the charge for reform. I am
not sure if limiting our organization to a specific and traditional
definitions of metalsmithing is the correct course, but a cacophony
of forceful opinions that diverge from our current trajectory is
surely the way forward. In the future, this type of open criticism
would be most effective when coupled with direct contact to the
people most suited to correct your complaints.
To all I say keep an open mind and think for yourself. For a while
there it sounded like lemmings. lol. If you weren’t smart and
independent, you probably wouldn’t be in business still, perhaps
many of you aren’t or never were. I am posting this letter and a link
to the orchid thread on my blog. Stop by anytime, and comment.
www.conceptualmetalsmithing.com
Best,
Gabriel Craig