Takeda ───── We would like to receive questions from the audience.

 

Audience 1 ───── I have run a gallery for glass art works for 30 years. I used to introduce overseas artists’ works to Japan and sold them. Now the situation is the other way round.Overseas clients would like to see Japanese glass artists’ works and purchase them. Now I am working with a German museum. They are interested in coming to the International Exhibition of Glass Kanazawa 2013. I feel that the result of education in glass art has been successful as Takeda mentioned.

I have two things to ask glass artists and critiques. First, I have several glass works to sell to the museum. 30 percent of the works have no autographs. I asked the artists why their works had no autographs. Some answered that there is no space for autographs and others answered, “My works cannot be copied so they do not need autographs.” Since running my gallery is my business, I have to consider how my clients feel about such works without autographs. There might be similar works to those without autographs. When I consider the value of works or a need for certifications, I would like each work to have an autograph. What do you think about this point?

Second, among the prize winners are many abstract works.Is this because not many concrete works were applied or jurors are not interested in concrete works?

 

Takeda ───── I would like to answer your question on abstract works or concrete works. Unlike drawings and sculptures, it is difficult to grasp what concrete works in glass art means.If we interpret concrete works as art woks representing the shapes of concrete things, only a few concrete works have been created. Among applied works we can hardly find such concrete works. The few include a work representing a human body. Most are abstract works.

Regarding artist’s autograph, I would like three jurors to answer. Professor Laursen, you are not an artist,but what do you think of with or without autographs?

 

Laursen ───── I think it is a very important point that, of course, you should make known that you did that piece of work, a specific object because otherwise you will not be able to attract museums for instance. It is very important to know the person behind an object and to know the ideas.That is how institutions develop and that is how we get wiser hopefully. So please put your name on what you are doing and show the words explaining that you are proud of these works.

 

Takeda ─────Thank you for your advice. Professor Carlson,any comments?

 

Carlson ───── I agree to her.

 

Takeda ───── Well, I would like to have Professor Yokoyama’s advice.

 

Yokoyama ───── Putting down your autographs is definitely necessary. When I was younger, I put down my autograph in small alphabet letters on the back of my work. Now, however,I put down my autograph clearly on the front of my work like Picasso.

 

Takeda ─────I am not an artist, but I would like to add my advice.In the field of traditional arts and crafts, artists sometimes do not put their autographs on their works because a note of authentication written on a container lid sometimes represents the artist’s autograph. I cannot judge whether or not it is good. I have been involved in museums for a long time, so putting autographs or marks on the work itself is much better for the museum in conserving and managing cultural assets.

We would not like to force any artists to put their autographs because it is totally up to each artist’s decision. However,the jurors said, “Be sure to put your autograph on your work.”

Do you have any questions and comments? Any comments will be welcomed, for example, you are not satisfied with some prize winners.

We invited two jurors, one from the US and the other from Denmark. I would like each of them to talk about the present situation of studio glass. Professor Carlson, please talk about American young artists or educators.

 

Carlson ───── In the US I will talk about studio glass, and I think it speaks probably some truth beyond the border of the US. But glass education system I think is matured in that there are many more processes we do, many more concepts,and many more philosophies of how glass is an appropriate craft material and art material.

Universities and art schools seem to be maintaining their programs and building better studios with more faculty so that is certainly very good news.

A country like Australia and European countries and probably many British Isles are putting together doctoral programs so that they can have students who go through undergraduate degree, baccalaureat, a master’s degree, and a doctoral program. I am not sure that it is necessary, but it certainly is one of the interests from institutions.This means there are even more possibilities for research.Research may be academic for those people who are in advanced degrees. Research for us who are in the studio is about making the next great piece and doing things that is more ambitious and even more inspired by unique ideas. So I think the state of the arts for us, makers, is very healthy.

So as artist we love what we do. We also know, as artist, the market place determines some of the possibilities that we have. The market place is not very kind recently. That market means that the collectors may not collect glasses they have had in the past. So we are adjusting to situation where we have to be more resourceful and work with the market which is there and still pursue ambitious efforts with our creativity.