April in Paris–A Hapnin’ Thing

We’re EXCITED about our April in Paris Fine Arts Festival Saturday, April 16.  If you’re an artist and interested in participating,  contact me at rcpeace@1starnet.com by March 25, so I can email you an application.  For more information, check out our homepage, April in Paris Fine Arts Festival.

We began last year with an April in Paris exhibition in the Plaza Art Gallery. This year we’re moving outside to the beautiful downtown Plaza around the Italian marble fountain contributed by Paris businessman/philanthropist  J. J. Culbertson.  The Culbertson Fountain commemorates Paris rising from the ashes of the great fire of 1916 that destroyed most of the city.  The fountain took three years to assemble (1924-1927) and was inspired by fountains the Culbertson family had seen while in Italy.  Come Join us at the Fountain on April 16!!

Encounter With Puebloan Ceramics in Colorado

LOVE those Switchbacks!

My husband and I just returned from camping near Silverton, CO, with freezing temperatures at night and wonderful cool days for hiking.  Returning home to 100 degree days was not fun!  

 We visited a  tourist shop in Silverton that carried Puebloan pottery.  Immediately, shopkeeper told us that the first display case (which was covered with locked glass doors) had puebloan pottery and the second had puebloan pottery made from ceramic molds.  Most people would likely have not seen the difference except that the pots in the second open display case were much cheaper than those in the locked glass case.  Which do you think the normal tourist would reach for? 

 The cheaper pots were made from molds to  allow the makers to produce pots in quantity.  Though I didn’t inquire, I doubt these pots were made from clay dug and processed by the puebloans themselves and likely they were fired in electric or gas kilns, not fire pits.   The pots and jars were very lightweight and some were intricately decorated with native designs.  I’m not even certain the paints were made from native sources or whether they were ordered from a catalog. Some pots even appeared to have clay smeared around on the inside (had not been smoothed out and I still don’t know what purpose that served).  While the artistry of painted design appeared well-done, the “canvas” was disappointing.  There was no feeling the coils by running a finger over the inside because there were no coils.  

  Though I understand the need to make pottery more efficiently to increase income, I still grieve the loss of  “old ways.”  I recently saw a video of Maria Martinez of San Ildefonso Pueblo in New Mexico and was amazed at her artistry using few tools.  My goal is to be so accomplished.   

 This Silverton adaptation to the market for pots and jars also reminded me of earlier history of puebloan pottery.  It’s not the first time native American potters have adapted to the market.  My research showed that after Mexico’s independance from Spain, Mexico established trade routes into this  region, and metal dishes and pans were introduced, decreasing the demand for pottery.  However, the puebloan potters still supplied new settlers with household utensils until the introduction of the railroads, which brought in tin ware and porcelain.  Luckily, the railroads also brought tourists and collectors.  The puebloans grasped the opportunity to change their emphasis from utilitarian ware to more decorative ware.  During the 1920′s the Indian Market in Santa Fe, NM, was established where pueblo potters sold their work.  They even made miniature pots to fit in tourists’ suitcases.  Smart business  people, those puebloans. 

God's Gorgeous Handiwork!

What began as a necessary craft has evolved into an artform with puebloan potters signing their work and the most notable families of potters able to ask and receive good compensation for their labor and artistry. 

Next Post–An exercise in coil-built ceramics–A “Found” Object