Do production woodturnings hurt the perception of our art?

[Steve Russell]

Hello to the group,

In a recent conversation, a serious multi-media art collector and gallery owner (who shall remain nameless) made some interesting comments about woodturning in general and production woodturnings specifically stating: "Production woodturnings of any type, by any woodturner, do nothing to advance the art of woodturning within the medium, or in the mind of the general public. Their simple forms sacrifice unique artistic elements, in favor of those designed strictly for speedy execution and are generally devoid of artistic creativity, or detail."

This gentleman went on to say that he felt production work (he defined "production work" as multiple forms of any woodturning project produced quickly with few artistic elements) may in fact be harming the overall impression of woodturning and its acceptance as a legitimate art form in the mind of many serious collectors and the public. He felt that all production woodturnings look too much like craft work and not real ground breaking unique artistic work, thereby nurturing the perception of our medium as a "craft" instead of an "art" within the mind of the general public. He also indicated that many of his gallery customers seemed to share these feelings as well.

So what do you think? Do you feel that production woodturnings of any type (bowls, pens, platters, hollow forms, peppermills, bottle stoppers, etc.) are harming the overall perception of woodturning by somehow forestalling the general public's acceptance of woodturning as a true art form? Do you think the current state of the woodturning arts is afforded the same respect and consideration by the general public (outside of traditional woodturning organizations) as paintings, ceramics, pottery and hot glass?

Note: This topic was discussed at a recent WC chat session, with some very good responses from the assembled group, but I wanted to seek this groups opinions as well...

 

[MichaelMouse]

I think shallow, narrow-minded snobs are common enough, even in woodturning. The thing that gets me is they're usually the ones who like to brag about how open, freethinking and superior they are.

The turning's for the turner, anyone buying it has their own idea of what it's for. I'd rather create than collect, but what the heck, the money's nice.

 

[George Guadiane]

And Besides That...

I think shallow, narrow-minded snobs are common enough, even in woodturning. The thing that gets me is they're usually the ones who like to brag about how open, freethinking and superior they are.

The turning's for the turner, anyone buying it has their own idea of what it's for. I'd rather create than collect, but what the heck, the money's nice.

Since turned wood has been done FOR CENTURIES, and has almost always been thought of as an ARTISTIC element of any project that it graced, I think it ignorant, presumptuous, short (if not blind) sighted blather from a "wannabe" of some kind.
Not that simple elements are the most exciting, but.........
Give the guy a spindle gouge (or better yet, A SKEW) and let him show you how simple and "un-artistic" it is, just tell him to use his knowledge and skill as an observer to make two (JUST two - if he lives that long) matching spindles.
I used to do jewelry repair. My "FAVORITE" sentence started with "All you have to do is..." No matter what followed, the person who had never done that super simple and instant repair, showed their ignorance. I don't think this guy is any different...
And that's from a guy who doesn't even LIKE production work. At least I know enough to RESPECT it, for what it is.
If I understood the last part, two bowls, two hollow forms, two of anything constitutes "production work." How can you even LEARN anything without practice??? If you find something you like (let's say NUDES - I like nudes), should you only paint ONE so that you are not just a "production painter??"
The argument is preposterous and ill informed.

 

[Vernon Oberle]

Personnaly I think the gallery owner is a snob that needs to perform a cranium extract. Not everyones idea of art is the same and besides why does every thing have to be art. An awful lot of people like wooden turned or carved utilitarian pieces. Not everyone can afford the high price pieces from a gallery nor does everyone even want it. One man's trash is another man's treasure. I sometimes have people that want a nice small bowl or pen set for a gift where they can't afford or don't want to spend what they ask in the gallery. sounds like this guy is a bit greeeeeady.

Vernon

 

[Doug M Jones]

Who says it has to be art?

I'm new to turning so I may be off base but I don't understand why it has to be art. There are people that appreciate a $30 bowl and others that want to purchase a $30,000 work of art like the one that was auctioned off in Portland. In all art forms, there are beginners turning out simpler or functional pieces as they aquire the skill and talent to grow in thier medium of choice. There are lots of "artists" in different mediums that paint, sculpt or weave basic items that can be sold to the general public to finance the time and equipment to pursue the next artistic quest.

The neat thing about turning is that as a rank amatuer, I can turn out a pen or bottle stopper that my freinds would be happy to own.

I'm not sure most painters and sculptors can say the same thing.

I aspire to become a good craftsman, I think becoming an artist takes a vision and talent that I'm not sure I posess. It probably shows my lack of art education or taste but I much prefer a well done bowl or hollowform over an abstract turned piece.

My 2 cents worth, thanks for listening.

 

[Ed_McDonnell]

Do the mass produced Chiwan oil paintings sold for less than $40 at local Holiday Inn a couple times a year diminish the perceived value of paintings by the masters? I don't think so.

Do the cold cast bronzed resin sculptures that sell for $100 diminish the appreciation and respect of real bronze sculptures that sell for 10s of thousands (or more)? I don't think so.

Would a gallery owner tyring to create the illusion of exclusivity and collectibility of wood turnings by pricing in the stratosphere be annoyed when the same items (hollow forms, bowls, whatever) are being sold locally at craft shows for a fraction of what he wants to charge? You bet he would. But that's life. Maybe he needs to be a little more selective in what he is carrying in the gallery. Leave the craft items to the craft shows and actively seek out real art for the gallery.

Lets face it, a lot of what passes for modern art these days is long on hype and short on talent and inspiration. Gallery owners are conditioned to value exclusivity and uniqueness over everything else. It's hard to convince some collectors that they are going to get a big status boost by buying something similar to what can be bought at the local craft show (at a fraction of the cost).


I still remember the artist that had a shop next to mine. He would show up a couple times a month around noon. Drink a six pack of beer. Toss a couple canvasses out in the parking lot and bring out a dozen pump sprayers with different color paint in them. He'd spend an hour hosing down the canvas. Then he'd break out the lawn chair and the cooler with the rest of the beer. When the paint was dry he'd load up and head on down to the gallery. The sales pitch at the gallery was priceless with all the talk about the "hand of god", divine inspiration and such. I couldn't help but laugh. But the artist was laughing harder. All the way to the bank.


Ed

 

[Brodie Brickey]

This gentleman went on to say that he felt production work (he defined "production work" as multiple forms of any woodturning project produced quickly with few artistic elements) may in fact be harming the overall impression of woodturning and its acceptance as a legitimate art form in the mind of many serious collectors and the public.

Looking at Steve's posting I couldn't help reflecting back on some of the pieces that I've seen artists; whether woodturner, scupturist or painter; placing in galleries. The pieces are so similar to each other:

• 4 hollow forms covered in beads
• 7 paintings in a series following an overall theme.
• etc....

All of them, become a series of pieces following a theme or technique. I suppose we can get artsy and say 'I was doing a complex interpretation and needed more than one piece to bring my vision together', but in reality its more like 'I was working on a concept and ran with it in small variations because it was easier to do more than one of the same thing. Apparently they were all saleable. Sweet!!!!' Isn't this production turning/painting/sculpture too?

 

[jmr2001]

Mind Over Matter

If you don't mind, it don't matter.

 

[gary webb]

your snobby gallire owner should realize if it 90% turned on the lath it's arts farts crap eny way :mad:

 

[Jred]

Wasn't Richard Raffin a production turner. Would he have the absolute confidence he displays with his tools had he started as a hobbiest? The same skills that have allowed him to explore for instead of technique.

 

[Steve Worcester]

While knowing who you are does bring credibility to the post, I think there is definitely a place for both. I do however feel that a staved wood bowl from Vietnam available fro $40 at (pick one) Target or whomever, does far more damage to what we are trying to accomplish than the art turner who is also trying to make a living from selling his work.

You could survey the top 25 price tag art woodturners in the country and I know that the majority of them either make their living from a "day job" or production work of some type.
The way I look at it (not in the top 25, and having a much better paying day job) all passions aside, you still have to put food on the table and kids through school.

Even Mr Ellsworth made pepper shakers to sell at art shows before he hit the big leagues.

 

[Andy]

Jred:

If you read Richard Raffan's books you will find he is a self-taught turner. In his first book he states that he was not comfortable with his tools for five years.

I think the production turner thing came about when he was asked what type of turner he was. His reply was: "production turner"

 

[Jred]

Jred:

If you read Richard Raffan's books you will find he is a self-taught turner. In his first book he states that he was not comfortable with his tools for five years.

I think the production turner thing came about when he was asked what type of turner he was. His reply was: "production turner"

Actually I have read his books and perused it again this evening. he spent 5 months in a production turning shop. he states that this is where he got to know the rhythm of "production turnery". Like what his shavings should look like and what sounds his tools were making.

 

[Barry Elder]

IMHO, the gallery owner demonstrated his abundance of ignorance by his arrogance.

 

[Ken Grunke]

"Production woodturnings of any type, by any woodturner, do nothing to advance the art of woodturning...

I think this is a given, and can go without being said. My response is "So what?"

This gentleman went on to say that he felt production work (he defined "production work" as multiple forms of any woodturning project produced quickly with few artistic elements) may in fact be harming the overall impression of woodturning and its acceptance as a legitimate art form in the mind of many serious collectors and the public.

This to me is pure horse manure. We're simply referring to two different markets here. There is a need for muliples when someone wants skew-turned spindles for a balcony railing, something better than sold at the do-it centers. That same person may be a collector of woodturned art and if he/she were a wise buyer would have done some reading up on the subject of what he/she collects, as any serious collector should.
A dedicated, serious collector does it for the love of what they collect, and I'd hope would be informed enough to know the difference between the craft of architectural turnings and art turnings.

I find those comments a bit disturbing, and possibly even more harmful to the impression of turned art than what that gentleman says is so.

I wonder what would he propose for a solution?

I'll get off my soapbox now!

 

[Sean Troy]

I wonder what this person thinks of Dale Chihuly and his glass "ART"? Naw, none of his work looks the same, as a matter of fact he doesn't even do his own work anymore, just puts his name on it and you can bet the person thinks it's worth the price tag.

 

[Ken Grunke]

Keep it civil please

Before it escalates any further, I'd like to request that name calling be kept to an absolute minimum, like, say, ZERO.
Thank you!

 

[George Guadiane]

I Apologize

Before it escalates any further, I'd like to request that name calling be kept to an absolute minimum, like, say, ZERO.
Thank you!

I apologize if anything I said offended anyone. The only thing I really have a problem tolerating is INTOLERANCE (oh, and macaroni and cheese).

 

[Richard Baker]

Ken and Sean nailed it.

"Do you think the current state of the woodturning arts is afforded the same respect and consideration by the general public (outside of traditional woodturning organizations) as paintings, ceramics, pottery and hot glass?"

Irrelevant, and of course not. Most folks have at least heard of the names of several of the "great masters" of painting. Many fewer know the names of masters of ceramics, pottery, etc., and so can have no particular respect for them and their art. Fewer still are familiar with art in wood turning. The "general public" cannot have "respect and consideration" for something of which it is totally unaware.

But then he's probably a very wealthy and well respected gallery owner, and I'm just a poor country amateur turner. So who you gonna believe?

 

[Aaron G+11]

The desire for artists to reach different markets has been around for centuries. Who would not want one of Albrect Durer's miniature engraving of one of his larger works. He made them different sizes for different pocket books. Does that mean he lessened the value of engraving. Bull feathers!

I have had the pleasure of meeting several "production turners". They spend an enormous amount of time working out both aesthetically pleasing and efficient patterns to turn. Their art is in the fight against time and the economy of movement. Sorta Zen. The act is the art.

Art vs Craft argument rears it ugly head again. The problem being the functionality of turned items makes some to believe that it cannot be a work of art.

nuff said, good night all

 

[MichaelMouse]

Actually I have read his books and perused it again this evening. he spent 5 months in a production turning shop. he states that this is where he got to know the rhythm of "production turnery". Like what his shavings should look like and what sounds his tools were making.

First time I've seen anyone else mentioning "feedback" turning. Maybe I'll get a second turning book to put beside Frank Pain on my shelf. Raffan, eh?

All some folks seem to want to talk about are their sharpening angles that require this kind of grinder and this kind of jig, and fancy alloys that require armored car deliveries to the store when what they should be talking about is the ease with which they can get either to "cut wood as it prefers to be cut."

Which, to return to topic, is similar to the argument that creation of certain types of turnings or use of fancy woods are required to make a work of art. Show this weekend has a couple of dealers who like to try and buy the best off the top early. I tell them to come back at the end of the show, because my customers deserve the best, not theirs.

 

[Mark Mandell]

There Are Two Questions Here

One from a Collector. The other from a Merchant.

The Collector appears to be afraid that the Investment he's made in items purchased will not increase in value as he had hoped because their worth to him is being diluted by perceived knock-offs. This question, then, is actually a "statement" not by a collector, but rather by an Investor who's having second thoughts about that "hot IPO stock" he bought hoping for a big jump in value. At the baseline, I suspect the person is questioning whether woodturning is "art" at all, and whether she should unload that part of her "collection." I doubt any truly savvy collector with an original of Tiffany's "Wisteria" lamp in their collection would question its value because exact reproductions are being cranked out by a factory in Singapore.

The Merchant's question is different. This person is worried about his customer base; but, I suspect, for his own sake, not theirs. As a Dealer-In-Art, his customers rely, in part, on him to offer them items with intrinsic value above what they will find at Wal-Mart, and that the INVESTMENTS they are making, based upon his express or implied representations, will be wise ones such that THEIR COLLECTIONS will, likewise, increase in value. The baseline again appears to be that the dealer has no confidence in the medium as an art form because some of the items he's chosen to offer for sale are capable of mass production, and therefore are not worth what the Merchant has paid for them, let alone the asking price to the patrons [that's "customers" in Gallery-speak]. This Merchant's business plan is based upon uniqueness and one-of-a-kind sales. A weak business model, because it cannot tolerate, let alone meet, any competition.

It appears to me that this "serious collector" has a crisis in confidence about his/her aesthetic choices. I've seen many such people get into the art field trying ride the "what's new & trendy" wave only to get left on the beach when the tide goes out. When I was a quasi-starving young sculptor, I put my slides on my back and went knocking on gallery doors in The Big City (NY). I was told as a newbie to start downtown (SoHo) first. The receptions were "Like your stuff a lot, but we only have feather (earth, mixed media, fiber, beads, plastic, glass, or inflateable) artists here. You really should try uptown." As a figure sculptor working in bronze and resin, I just didn't fit in with the trendy "happening" stuff. So, I schelepped uptown where "work like mine" was sold. Again, got many nice comments. Even sold a piece to a gallery owner just because he really liked it, but, alas, no entre to the Art World. Why? Catch 22 - To get into a gallery, you need a Name-that-sells. To get that Name, you must get into a gallery. The savings account was fast-approaching zero, and my wife and kids were getting tired of "starving for Daddy's art" so I moved on to other things. Those "feather merchant" galleries did as well.

If this Collector/Merchant is threatened by the production market, he/she needs to find another medium to collect and sell. But they'd best be prepared for the same issue regardless of where they go; hotels can buy handpainted Monet's from China for $45 a pop.

 

[Ron Sardo]

I think I know where the gallery owner might be coming from, especially if he displays paintings in his business.

Here's my take.

You never saw Van Gogh do a "Starry Night" series of paintings. If he did It might be considered production work. The same would go for any of the well known painters.

My "GUESS" is this gallery owner was trained/schooled in fine art, where making the same thing over and over again is frowned on and is considered production work.

The subtle differences you and I see as turners may be lost to the untrained eye.

This gallery owner needs to be educated.

 

[Rick Anderson]

The collector/gallery owner's opinion (and I stress opinion) is based on the assumption that there is something "better" about "fine art". It is not "better".....it is just one facet in the wide world of craftsmanship and art. It would be a dull world if everything but "fine art" were denied existence.
Rick

 

[Brujo]

Production or art...does it matter

Some turnings are art, some are utilitarian, some are both...let those who like to judge work it out. Personally I like to live by the words of a great prophet song writer..."Judge not, least you be judged yourself".

Hey Ron! I hate to break this to you but Van Gogh made 4 Starry nights and 12 sunflowers! All slightly different, but most people do not notice.

Just to kill this production talk when applying to art school they like to see a "series", basically a set of the same piece by the same process that show development of an idea. Go to any artist opening and you will generally see this. The same piece worked on from slightly different perspectives.

Take a look at Bud Latven or David Ellsworth's gallery. Both have series of works name "Homage", "Sphere", "Torsion", etc. These are all the same piece, just made of different material and different sizes...Does that mean they are production turners...hardly.

Developing an idea, reworking it, and creating many different perspectives of the same idea are what make an artist an artist.

 

[hockenbery]

how the public's perception of woodturning is formed is rather complex.

My Philosphy is that any object is what it is. The "is" is formed by the perceptions of the individual.

I like Ed's comments on the affect of cheap oils on the masters ....
Does Thomas Kinkade have an impact on the art market?

There is a need to educate the general public.

The affect of utility bowls, treenware or arhitechtural pieces on the art market is unknown but not new subject. I've often heard british turners say they can sell at higher prices in the US because their countrymen equate wood with utility not art.

A very good turner was once told by a collector that he should stop turning goblets because it demeaned his other work.

-Al

 

[Max Taylor]

do production turners hurt

undefinedWell, now that you have about 25 opinions from other turners, what are your views, being a production turner?

 

[Ron Sardo]

Hey Ron! I hate to break this to you but Van Gogh made 4 Starry nights and 12 sunflowers! All slightly different, but most people do not notice.

Well hush my mouth

 

[Steve Worcester]

Well hush my mouth

Yeah, I had no idea either. But i do like that Van Gogh stuff, hopefully I can get it at the $49 Holiday Inn art sale next time.

 

[underdog]

Production turners?

Mike Mahoney comes to mind. And he's sold a lot of stuff to galleries... Does his work devalue turning and add nothing of value to the publics perception of woodturning?

Hardly.

I'd say he makes as fine a piece as anyone, and helps the public's perception of woodturnings. And just why is that? Because he spends 8 hours a day in front of a lathe, and knows how to make woodturnings. And you'd never meet a nicer guy who likes to share woodturning with other people either.

I wonder just what they'd say to Japanese caligraphy artists?

I just can't agree with this person.

 

[Martin Braun]

When I first started, I often had the debate in my mind as to whether what I was doing was art or craft. I came to the realization, that it doesn't matter to me. I like what I do when I turn wood. I have fun creating what I set out to do. I guess if I was trying to make money at it, I might have to further define what it is I'm doing and market it appropriately.

 

[Jake Debski]

Is production turning hurting "turning art" or is this particular gallery owner doing the hurting? I'm not schooled in art history. But it seems todays collector has taken the place of the artist's patron of eras past. The gallery owner acts as the middle man or salesman if you will. Isn't it his job, or livelihood, to bring the new or ground breaking artist to the attention of serious collectors? The gallery owner that started this conversation is, in my opinion, just lazy. He/she doesn't want to do what is necessary to separate the commonplace from the nuggets of high art. He wants to limit the art turners, and halt the production of the craft turners, to make his life easier. Well I got news, every weekend all across this country, and globe for that matter, there are thousands of craft shows and usually at least one seriously addicted turner trying to recover some of the high cost of his efforts is in attendance. Only the marketplace will stop it. If turning is indeed High Art then it will continue to grow and gain in value and his opinion will ill garner as much value as the Elvis on velvet painting I've got somewhere in my attic.

 

[Joyce Baldauf]

Monet and his numerous paintings of water lilies come to mind.

Joyce

 

[n7bsn]

While I certainly tend to agree with the majority here, the gallery owner sounds more worried about money then anything else. I also have a slightly different thought....

I just returned from my home town, a fairly major town of over 50,000 people. While there, I noticed but one local turner's work in three different shops. After seeing his work, I might be able to understand the point of the gallery owner.
He did a variety of hollow-forms/weed-pots.

• In every case the hollowing consisted of simply drilling out center, even larger objects, 4 inches (and more) across.
• His exterior shaping was jarring, heavy and clunky

All his turnings stunk, just plan stunk, the only thing he had going was that he was a local, using local woods. But if this is what people in my home town see are seeing as turned objects... that hurts both the art and production of turning.

I'm not going to name my home town, as the last time I looked at the AAW directory, there was one member listed there, I also saw one person from there at Portland, and I just hope it was him and he paid attention in the rotations and learned just a little.

As everyone that knows me, and has seen my work knows, I'm neither an art turner, nor a production turner, but I know the difference between junk and quality.

TTFN
Ralph

 

[Steve Russell]

My take on this...

Thanks for taking the time to voice your opinions and concerns...

As many of you know, I have been a full-time production woodturner since I first opened my studio 12 years ago. In that time, I have met many gallery owners and members of the general public that have held different views than mine on what constitutes "Art" and what constitutes "Craft" and where woodturnings place is in the grand scheme of things.

I certainly do not agree with this gentleman's position - in any way, shape or form - but he has a right to his opinion (right, wrong, indifferent or other), just like everyone in this forum does. When we run into people with opinions like this, we have an opportunity to change their perception of the woodturning arts.

As ambassadors of the woodturning arts, we do little to advance the perception of woodturning or ourselves, if our first response is to ridicule someone's opinion - even if we disagree with it or it's totally baseless. When this conversation began, I could have taken it personally (since it was directed at production turners), but I chose instead to listen to his concerns and then convey my thoughts on this issue in a calm and collected way.

I looked upon this conversation as a golden opportunity to convey my thoughts and passions for the medium I love so much... Maybe I was able to change his mind, maybe not. One thing is for sure, had I chosen to ridicule him instead of trying to educate him, I would have never had the chance to change his mind.

Maybe it's the thirty years of successful sales I've got under my belt, or the fact that I'm an optimist, but I think you have to look at negative comments (about your medium or your work) from gallery owners, or members of the general public as opportunities to share your passion for woodturning. In doing so, all woodturners benefit and our medium benefits.

 

[Curt Fuller]

Doesn't production work form the basis for art in most instances? If you go back far enough in time I think you find that some of the earliest artists were those that were painting on the cave walls to tell a story that they were unable to communicate due to a lack of communication skills (a picture tells a thousand words). The early potters and basket weavers were just trying to make a vessel to get food and water from where they found it to where they could safely eat it. All of these things over time developed into art forms of one kind or another as they had more time to become more creative. Woodturning isn't really any different. Our production pieces are just beginning to evolve into an art form with a reborn interest in the craft and a somewhat newly born interest in enhancing the craft to the level of art. But just as a plain Anasazi basket with no decoration is surely art, so is a nicely turned bowl with nothing more than the wood grain as the decoration.

 

[Jred]

Another point is that if a turner doesn't hone his skills through high production techniques the they may never take the time to experiment. I know that I'm not always willing to try something new because my turning time is hard to come by. I am not always willing to blow up something I've spent 45 minutes on. It is nice to walk away with a project. If I know I have the skills to replicate 80% of a piece in short order than I am more willing to take those risks.
Also if one is turning for profit then the amount of time put into a project is paramount to success or failure. The gallery owner doesn't have this same investment.

 

[Jim Keenan]

My wife’s cousin owns an up-scale gallery in Northern California and handles turnings, custom furniture as well as the usual painting and sculptures. Once each year he comes to Hawaii to visit with the local artists and galleries to secure new items for his gallery.



Once while we were along on one of his hunting junkets, we visited one of the many galleries in the Holualoa area of the Big Island.



Towards the rear of the store there was a display of the following:

Four 2 x 4s that had been left in the sun while green and allowed to twist, split and curl. When the proper amount of disintegration had occurred, the “artist†painted each of the boards with its own color pastel house paint. The lumber was then nailed to a short 2 X 6 for a base, put into the corner of the shop and pea gravel was spread around its perimeter.



The cousins just fell in love with the “sculpture†and couldn’t stop gushing about how artistic this specimen was. All I could say to myself was, “you have to be kiddingâ€Â. This piece gave true meaning to the saying that “beauty is in the eye of the beholderâ€Â. I would rather spend my money on a finely finished bowl, even if it were the 10,000th copy of the original. Each piece of wood is original and has to be crafted by the artist to capture the essence of the material. No matter how many times the turner duplicates the piece, it is always original.

 

[odie]

The gallery owner in question has only one thing in mind.....the protection of his interests.

I occasionally go to "fine art" galleries, and what I see in many/most of them is......marketing. You know, that "exclusive" air about them. Of course, there are a few that are head and shoulders above the rest, that manage to attract the biggest names in the art world.....but, these are the exception to the rule.

This is not to take away from the fine woodturnings we sometimes see.....but, the truth is, I've seen just as nicely done and artistic pieces being offered in arts and crafts shows.....at a much more reasonable price. These are just as well executed as you will see in the majority of "fine art" galleries. Certainly, I'm not talking about the average woodturnings you see in A&C shows, but the better exhibitors at these shows do have what it takes.

Is it possible to find "art" in a crafts show? Yes, just as much so as it was possible to purchase a Monet, or Van Gogh in a street exhibit more than a century ago.

The gallery owner is also a business owner. The two things are necessarily interconnected.

Now.......go out there and turn! You are the only one you HAVE to please.....If you manage to please a few other people, that's just the proverbial "icing on the cake"!

otis of cologne

 

[Ed_McDonnell]

The original post related one persons opinion of how the general public might be viewing woodturning.

Had an interesting experience today. The Gold Coast Woodturners were setting up a display of our turnings in the Main Library in Fort Lauderdale. Based on the reaction of the general public that swarmed us as we were setting up you would have thought we were putting King Tut's treasure on display or something. I believe that the general public in pretty much in awe of any turned object, with little distinction between "art" and "production".

Here's a picture of the two tables we set up. You can use your own judgement to decide "art", "craft", "production" or "whatever".


Ed