Winterfair Educational Supplement

Introduction
To increase the educational potential for visiting classes, Ohio Designer Craftsmen has produced a Winterfair teaching packet to help teachers and students get the most from their Winterfair experience.

The packet is broken down into five areas of study: (1) What is Winterfair? (2) The Business of Art (3) What is Fine Craft? Traditions and Narrative (4) Standards and Sample Exercises, and (5) Demonstrating Artists. Throughout the packet, youll find discussion questions, prompts for personal inquiry, art-making lessons and worksheets. Each section strives to relate craft to an individual's everyday life, whether as an artist, non-artist, patron, administrator or hobbyist.

Teachers may choose to utilize all five sections or any one particular section related to their students studies. While the packets were designed for Winterfair, much of the material could be applied to any lesson dealing with craft.

Winterfair Educational Supplement Table of Contents

Section 1: What is Winterfair? Topics for discussion before your visit to Winterfair a) b) c) d) Section 2: The Business of Art a) Winterfair: how and why b) Business issues for career artists c) Training and schooling for career artists Section 3: What is Fine Craft? Tradition and Narrative a) b) c) d) Section 4: Content Standards and Worksheets a) Content standards b) Worksheets Section 5: Demonstrating artists at Winterfair What is fine craft? Tradition: Craft lives in the past and the present Narrative: Craft tells personal stories Craft in your world What will you see? Student visitor conduct Things to look for and questions to ask Suggestions for in-class aesthetic inquiry

Section 1: What is Winterfair? A. What will you see at Winterfair?

You will see over 400 artists from all over Ohio and from across the country! These artists will be selling their wares, and some will be working on making new items. You will see art that tells a story, art that has a historical background, and art with a sense of humor. You will find art objects made from a variety of materials, such as clay, leather, metal, wood, stone, glass and fiber. You will find that each artist approaches his or her work with a different attitude. Some will create works with an element of humor. Some will strive for sheer physical beauty. Some discover an ingenious functionality. Some seek a natural or organic approach to their design. You will find functional art of all types. Functional art is art that serves a purpose in every day life, such as art you can cook with, art you can write on, or art you can wear. Most of these items cannot be found in stores. The materials and methods used to create these art forms are unique to each piece and are not compatible with mass production.

B. Winterfair codes of student visitor conduct

Be respectful of the artists and visitors with your words and actions. If an artist appears to be busy, such as talking with a customer or working, please do not interrupt or disturb him or her. If an artist can only answer a few of your questions, please find another artist who can spare a few moments to talk with you. You must wear your nametag at all times. Do not remove it or you will be asked to leave the premises. Do not run in the aisles. The artwork on display at Winterfair is valued at thousands of dollars and cannot be exposed to unnecessary risks. Horseplay of any kind will not be tolerated and all offenders will be asked to leave. The samples offered in the food marketplace are samples, not meals! Please do not abuse the privilege of sampling.

C. Things to look for and questions to ask at Winterfair

Where do the artists get the materials they work with? Are they materials you can find or buy just anywhere? What stories do the artists tell through their work? How is the artist influenced by the traditions of his or her media? How does the artist make their traditional media look new and modern? How much inventory (objects to sell) does a particular artist have in a booth? How much time and money did the artists have to spend to prepare for Winterfair? How long does it take to become a processional craft artist? Why has the artist chosen this career and lifestyle? What subjects did the artist study in school or college that now help him or her run an art business? Is the artists work an individual effort, or done by a team? What is a typical workday like for a particular artist? What is the artists definition of success in her or her profession? What type of experience is required to be successful? How do these pieces differ from factory-made items you can find in stores?

D. Suggestion for in-class aesthetic inquiry

Present the students with three examples of work considered to be fine craft. One of the objects should be functional, the second should be non-functional but based on a traditionally functional item, and the third should be used purely for adornment or decoration. Three examples might be a stoneware vessel designed for use, an art quilt (meant to be hung) and a piece of handmade jewelry. Break the students into groups of four and ask them to address the following questions. Have the group designate a spokesperson to write down and report the group responses to the rest of the class. Encourage students to voice points or counterpoints after each spokesperson present his or her groups view. Make clear that the discussion is a friendly one, where each opinion is valuable in the exchange of ideas.

Allow each group to present their answer to each question before moving on the next. Questions: 1. Which do we think is more important: an object that serves a purpose or an object that is interesting to look at? 2. Could these objects or objects similar to them be found on display in a museum? Could they be found in a store? 3. Would you prefer to have something that is handmade or something that comes from a factory? Why? 4. Do you think it is important in todays society to have handmade objects? Why? 5. Which object would you most want to own and why?

Section 2: The Business of Art A. Winterfair: How and why

The Columbus Winterfair is an annual juried crafts fair that has existed in Columbus since 1976. Winterfair is produced by Ohio Designer Craftsmen, an organization of over 2,000 craft artists.

Who runs Winterfair? A small staff works throughout the year to organize Winterfair and other fine craft fairs in Cincinnati and Cleveland. There are thousands of details to manage, from selecting the artists to organizing advertising campaigns to renting the space and equipment for the fair. Individual artists are responsible for setting up their booths.

How do artists participate in Winterfair? More than 1,500 artists apply to sell their work at Winterfair, but only 400 are accepted. Artists who wish to exhibit at Winterfair are required to submit digital images of their work to a jury. The jury is a panel of five artists who each specialize in a different type of craft. They view the images and select the artists who will participate. This jurying process is commonly used to select artists for exhibitions and art competitions. There is tough competition to exhibit and sell at Winterfair. Only those who are recognized as the best in a field are chosen to participate. The jurying process attempts to insure that the people who come to buy at Winterfair have the best selection and highest quality from which to choose.

B. Business issues for career artists

Is this a real career for the participating artists? Most of the artists at Winterfair are self-employed. They work full-time on their art when not attending exhibitions. The artists also sell their work at other fine craft shows, galleries, gift shops, online, and by mail order. While the artists are their own bosses, it is common for them to spend much more time working than one would in a 9 to 5 job. Most artists enjoy the creative freedom and independence of being a craftsperson, and

feel the long hours are well worth it. Most of the artists you see at Winterfair make a comfortable living from their work. In many ways, an artist needs to have a head for business. Since the artists own their own businesses, they need to keep close track of money spent on materials, utilities and other costs. They also need to research and keep up with information and trends in their field, such as changes in tax laws, or new techniques for a particular material.

C. Training and schooling for career artists

What type of training do exhibiting artists have? The way an artist at Winterfair arrives at his or her particular level of expertise varies greatly. Some of the artists are self-taught, and some have served apprenticeships with other artists. Most have attended major universities or art schools. Many have received a Masters degree in fine arts. As with any other career, it takes desire and personal discipline to become a professional craft artist. What school subjects help these artists create their wares? Artists use many of the skills that you are learning in high school today. Artists use knowledge they learned in math, algebra, geometry, chemistry, and many other subjects while they create their work. Art requires a lot of thinking!

Section 3: What is Fine Craft? A. Craft as art: what is fine craft?

The term fine craft often refers to art objects created from traditional materials, such as clay, metal, wood, fiber and glass. It is a term used to differentiate between objects created by hobbyists, or people who like to make things in their spare time, and objects created by formally trained artists who produce works of art as a primary occupation. The artists at Winterfair have spent years perfecting their technique. Most of them have pursued artistic study in universities or art institutions. Some Winterfair artists previously worked as apprentices, learning alongside established artists in their media. These artists use their professional training to make conscious decisions as they create, using established artistic principles of design, color, line, shape and texture to determine their personal aesthetic.

B. Tradition: A classroom inquiry

All craft artists work within a tradition. Some crafting traditions, such as ceramics, glass blowing, or woodworking, have been around for thousands of years. It is through tradition that the knowledge and understanding of materials, processes, and techniques are passed down from generation to generation, artist to artist. Change in craft is also important. Sometimes, contemporary craft artists seek to push boundaries, or change their traditional art form in his or her own way. These artists seek new ways to use their media, but do so while respecting the longstanding traditions of their craft. For instance, new generations of glass blowers push the limits of their artform, making new shapes or expressing new ideas through glass. While the results may not be traditional in either subject matter or form, their methods date back thousands of years. Like other craft artists, they have a deep respect for the long tradition of glassblowing. Sometimes artists work to preserve tradition instead of changing it. Many items that are now mass-produced by machines were once hand-crafted at some point in history. Because so many of the objects in our lives are now created by machines, some methods originally used to create every-day objects have become rare skills. For

instance, the tradition of broom making was almost completely lost because there was no longer a need for handmade brooms. Machines could make brooms from synthetic materials much more quickly and cheaply than a craftsman could. Within the past few decades, our society has returned to valuing natural materials and traditional methods. As a result, there has been a revival in the appreciation of traditional crafts.

Classroom Discussion
Select a traditional object made out of clay (e.g., a cup, bowl, platter, teapot, vase, etc.). Discuss the object focusing on its form, materials, and function. Then ask students: How could you push the boundaries? What needs to be kept the same in order for it to still be considered a cup, bowl, teapot, etc.? What could you changescale, materials, form, etc.? What would happen if you gave it an unusual form? Art-making: Clay Have students explore various ways that they could alter the objects form. Allow them time to sketch their ideas. Once they have developed their ideas, have them make their altered objects through hand-building and/or wheel throwing. Once they have completed their artworks, have them create titles and put the works on display. Discuss the experience of breaking away from tradition. Reflection Give each student a copy of the reflection sheet Pushing Boundaries (Tradition: Continuity and Change Worksheet #2, pages 1 and 2). Ask students to reflect on the artwork they made using the worksheet to guide their thinking.

This section taken from Community: Continuity and Change. Craft In America. 2007. www.craftinamerica.org

C. Craft and Personal Narrative

We all live and work within our own personal landscapessurrounded by objects, ideas, beliefs and values that help shape our personal identities. When craft artists use their art forms to reveal their passions and concerns, their objects are infused with special meanings. As we view and use the objects they create, we are invited to not only appreciate their beauty and form, but also to ponder the story or message the artist is trying to tell. We all surround ourselves with objects that have meaning to us and help shape our personal identities. The books on our shelves, souvenirs from our travels, family pictures and mementosthese contribute to our own unique environments. Our identity is formed, in large part, by the ideas we have about the worldits history, its institutions, and the people who inhabit it. Our beliefs and valueswhat we care about deeplysurround us and inform our day-to-day interactions with others. Our personal identity also becomes the setting for our work. Identities are also influenced by family histories, personal traditions, and cultural connections. These kinds of personal characteristics are often expressed in traditional craft methods. For instance, a basket-weaver may have chosen his or her media in an effort to keep a family or cultural tradition alive. Each piece made by this basket-weaver becomes a reflection of the artists history, combining the past and the present. Classroom Investigation Divide students into pairs and have them work together to write a radio segment (podcast or blog) about artists who express personal themes in their work. Their segment needs to be about three minutes long, and they will need to discuss two artists who draw upon their own personal identitiesthe ideas, beliefs, values, objects, and traditions that help shape their work. For each, they should talk about the artist, the artwork, and the way the artist expresses personal identity. Give each student a copy of the Talk Radio worksheet (Personal Connections Worksheet #1, in the worksheet section), to work on their radio segments. Have the students work quickly, giving them only 30 minutes to complete the task. When they have all written their segments, have each pair perform their radio talk for the class.

Student Inquiry Working individually or in pairs, have students find three different teapots online, in a textbook, or in ceramic magazines. Then ask them to complete the Personal Identities #2 Worksheet (in the worksheet section). Remind students that craft artists might care about many issues, such as form, politics, personal history, culture, innovation, nature or tradition. When they have completed the worksheets, have the class describe the teapots they found and the ideas conveyed through each of the vessels. Did all of the teapots convey ideas or concerns? How did you know what ideas or concerns each artist seemed to be trying to communicate?
This section taken from Community: Continuity and Change. Craft In America. 2007. www.craftinamerica.org

E. Craft in Your World

Why purchase handmade objects? Some of the things you see at Winterfair are functional objects like mugs, dishes, clocks and jewelry. You might think that you could buy these objects for less money at a store, but at Winterfair, the items for sale are all handmade. This means they were created with care and skill by a craftsperson, and every piece is unique and special. There are other benefits to buying hand-crafted items. At craft fairs like Winterfair, you get to meet the artists who make the pieces you purchase. This interaction gives you special connections to the wares you buy, and increases the personal value of the art. Buying handmade items for your home is a way of bringing art into your every day life, and having affordable art in your home. Discussion Questions: Discovering craft in the everyday world Ceramics Tea rituals are important in cultures throughout the world (high tea in England, tea ceremonies in Japan, etc.) and even play a prominent role in literature (Alice in Wonderland). Have students find out more about the world of tea and handcrafted teapots and tea cups. Are hand crafted teapots and tea cups a part of these traditions? Have students find out more. We use cups, bowls, and plates every day. Have students go home and look in their cupboards to see if there are any handcrafted cups or dishes. How can you tell if

things are handmade or not? Many designers try to make their products look handcrafted. Why? Natural Materials Have you ever noticed how many things in our world, our daily life, are made from natural materials? Have students spend five minutes looking around a room in their home to count the things inspired by natural materialspatterns, furniture, design, clothing, baskets, jewelry, wallpaper, etc. Baskets are a part of our daily life. They are used every day to hold objects of all shapes and sizes. They are made in different ways. Basket materials and forms typically are rooted in the original use of the basket. Have students look for different types of baskets and compare and contrast the ways in which they are made and the materials used. Glass Glass has many different uses in our world. Have students look for as many uses of glass as possible and keep a running list. How many of these objects are handcrafted? How can you tell? Textiles Many people use quilts as part of their daily life. Sometimes these are handcrafted by a member of the family. Ask students to talk to a relative to see if there are any special quilts in their family. Wood Seek the truth in materials. How can you tell if wood is real or not? What qualities does real wood present? How many objects can you find that are made out of simulated wood? Why do people want products made of fake wood?

Section 4: Standards and Worksheets A: Visual Arts Content Standards for Winterfair
If the students are asked to write or discuss a response to the works at Winterfair, it is possible for the lesson to cover the following standards:

I. Analyzing and Responding Benchmarks 1. Apply the knowledge and skills of art criticism to conduct in-depth analysis of works of art. 2. Explain how form, subject matter and context contribute to meanings in works of art. 3. Critique the work of other artists on the basis of the formal, technical, and expressive aspects in the works.

II. Valuing the Arts/ Aesthetic Reflection Benchmarks: 1. Communicate how the aesthetic point of view contributes to the ideas, emotions and overall impact of personal artworks and the works of others. 2. Identify and analyze a variety of viewpoints on aesthetic issues and themes in visual art and develop a personal point of view. 3. Judge the merit of selected artworks and prove the aesthetic basis for their positions.

III. Historical, Cultural and Social Contexts Benchmarks: 1. Compare the works of art to one another in terms of historical, cultural, social and political influences evident in the works. 2. Explain ways in which selected, contemporary works of art relate to the themes, issues and events of their contexts.

B: Worksheets
Name ______________________________________ Date ______________________________

Tradition: Continuity and Change Pushing Boundaries Page 1

What did you make?

What inspired your design?

In what way is your finished artwork within traditional boundaries? Think about form, materials, and function.

In what ways does your artwork push the boundaries of the traditional object?

Think about form, materials, and function.

Are you pleased with what you created? Explain why or why not. If you were to do the same project again, what changes would you make?

Craft in America, Inc., 2007

Name ______________________________________ Date ______________________________

Tradition: Continuity and Change Pushing Boundaries Page 2

Please circle the responses that best fit your artistic working process (1= no fit and 5=perfect fit): a. Tried to see the whole art task and not just the details of it 12345 b. Rushed into solving the problem, going with my first solution 12345 c. Ran into problems 12345 d. Created sketches or models to help solve problems as they arose 12345 e. Had to redo parts 12345 f. Changed ideas or directions 12345 g. Had to stop and figure what to do next 12345 h. Felt frustrated or discouraged 12345 i. Talked through my problem and kept asking myself about it until a solution presented itself 12345 In the space below, share what you have learned about traditions, continuity, and change.

Adapted from Donna Kay Beattie, Assessment in Art Education. Davis Publications, Inc. Worcester, 1997. Craft in America, Inc., 2007

Name ______________________________________ Date ______________________________

Identity: Personal Connections Worksheet #1 Talk Radio

You and your colleague are the new hosts of a community-based radio/blog/podcast series. For the past several weeks you have been featuring a mix of ordinary people who in different ways are making the personal public. Today, you will be discussing two artists who, in their own ways, draw upon their own personal identitiestheir ideas, beliefs, values, people and traditionsthat help shape their work You and your co-host have 30 minutes to write a basic script for the radio/blog/podcast segment. Make sure that you talk about the artists, their artwork, and the themes of personal identity in their work. Use the space below to write your segment.

Craft in America, Inc., 2007

Name ______________________________________ Date ______________________________

Personal Connections Worksheet #2 Personal Identity Revealed

Teapot #1 Teapot #2 Teapot #3

Sketch

________________________ Title ________________________ Artist ________________________ Date ________________________ Medium Unique Characteristics ________________________ ________________________ ________________________ ________________________ Concerns and Ideas? ________________________ ________________________ ________________________ ________________________ ________________________

________________________ Title ________________________ Artist ________________________ Date ________________________ Medium Unique Characteristics ________________________ ________________________ ________________________ ________________________

________________________ Title ________________________ Artist ________________________ Date ________________________ Medium Unique Characteristics ________________________ ________________________ ________________________ ________________________

Concerns and Ideas? Concerns and Ideas? ________________________ ________________________ ________________________ ________________________ ________________________ ________________________ ________________________ ________________________ ________________________ ________________________

Craft in America, Inc., 2007

C: Winterfair Art: Compare and Contrast

Sketch one of the works of art you see at Winterfair to the left of the top circle. Make a sketch of a second work of art next to the lower circle. Note the title of the piece, if there is one, and the artist. In the Venn Diagram, list the qualities that are unique to each piece and then those that are seen in both pieces.

Unique Qualities

Title

Artist

Common Qualities

Consider: medium, size, color texture, shape, volume, craftsmanship

Title
Unique Qualities

Artist On the other side of this page, discuss which artwork you like more. Explain why you like the piece in 2-3 paragraphs.

D: Flowchart: How does a craft fair happen?

Winterfair

Promote the fair in newspapers, magazines, postcard mailings.

Artist
Business Make Art

Fair Organizer
Hire artists, send out prospectus to artists Rent building, tables, chairs, decorations

Submit slides to fair

Bookkeeping and sales

Marketing: Create logo designs, business cards and pamphlets

Create artist booth for display

Jury slides

Send out rejection and acceptance letters

Provide parking, security, food, restrooms, seating for visitors

Talk to customers, answer questions, sell work

Set up fair and

take down fair

Find volunteers/ hire extra workers

Be at fair to help artists, visitors.

Section 5: Demonstrating Artists at Winterfair

John Matz- Stained Glass Sunflower Glass Studio Amesville, Ohio John Matz, the owner of Sunflower Glass Studio in Amesville, has taught glass-working techniques to people of all ages since 1984. He is on the staff at Foothills School of American Crafts, and has taught classes at Ohio University and West Virginia School of Crafts. John creates high-quality designs in glass, from traditional quilt-block patterned windows to individually designed contemporary pieces.

Spirit Williams Wood Carver Rockbridge, Ohio Wood carver Spirit Williams carves birds and animals, architectural elements, human figures, and portraits in relief. Her animal carvings are very realistic and lifelike! Believing that wood is a living medium, Spirit uses mostly hand tools while creating her sculptures. The direct interaction of knives and gouges with the wood allows her to feel her way into a representation of the subject. Spirit prefers to use native woods like basswood, butternut, cherry, poplar and walnut. Spirit has been commissioned for many architectural pieces and portraits. She works with architects and interior designers to create detailing on doors, mantels, lintels, newel posts and wall murals. One major work, a wall sculpture featuring African animals, is a permanent installation at the Columbus Zoo.

Tim Frederich Potter Dublin, Ohio Tim Frederich has worked as a functional potter since 1968. He creates and markets hand-thrown and handbuilt high-fired stoneware pottery and sculpture through wholesale, retail and corporate accounts. Tim has also taught classes in all aspects of functional pottery and sculpture, with a main focus on throwing, handbuilding and glazing techniques.

Buckeye Rug Hooking Guild St. Clairsville, Ohio This craft organization will be demonstrating rug hooking, or attaching strips of wool to a mesh backing to create two dimensional pieces. They will also use other techniques to create wool rugs, such as needle punching and felting. The Columbus Miniature Society This group is for enthusiasts of all things miniature, and provides guidance and workshops on dollhouse techniques such as building, wiring, tiling, wallpapering and more. They also make tiny furniture and miniature scenes.

The Guilded Lilies: Doll Makers of Central Ohio This group features a wide range of doll-making techniques, both contemporary and traditional. They will be demonstrating their craft and will work at the hands-on art making table each day at Winterfair 2013 from 1 3 pm.

Central Ohio Weavers Guild This guild is a group of artists working in a variety of fiber arts, such as weaving, spinning, knitting, dying and felting.