“To devote yourself to one path of making has enlightened me beyond my wildest expectations,” she says. Some artists today tout the merits of being “material agnostic,” sampling various mediums without becoming expert in any they learn just enough about clay or wood or metal to be able to bring a particular concept to life, or they have others do the technical, hands-on work. “Dedication to a single medium,” says Schaechter, is “not only out of fashion in our culture, but denigrated, disrespected.”
Of course, there is not necessarily consensus in the art world about the value of this sort of deep, material understanding. The medium is no longer a barrier to be rationalized. MaConnect with Deepfocus. Learn more Deepfocus.io updated their cover photo. MaDeepfocus.io MaDeepfocus.io updated their website address.
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So well versed is she in her material that she is free to execute any idea that comes to mind. MaDeepfocus.io updated their profile picture. What’s the value of such intrinsic expertise? “I can depend on it,” says Schaechter. It’s just part of me.” Schaechter says something similar: “The thing about stained glass is that somehow it crept into me and became part of me.” ACC Gold Medalist Betty Woodman, whose medium is clay, puts it this way: “I have a deep-rooted love of ceramics – a passion, a knowledge. Over time, tacit knowledge becomes internalized it be-comes a keystone of identity. And when you do for more than 25 years, you know a lot. Think of driving a car, playing the piano, speaking French – or making exquisite stained glass windows. Practice gives rise to what philosopher Michael Polanyi termed “tacit knowledge” – expertise so intricate and deeply embedded that its possessors can’t readily explain it.
Now, she says, “I get a lot more satisfaction out of the actual making.” Schaechter tells of a period in her 30s when she was relentlessly critical of her own work. Ups, downs, struggles, breakthroughs – all in an unpredictable sequence. Long, sometimes arduous practice over years. What made the difference for Schaechter? Practice. And the very soul of craftsmanship is deep knowledge of a given material. To be named a Fellow, an artist must demonstrate extraordinary craftsmanship over at least 25 years. “And I also have developed strong feelings about dedication to a single medium and even single processes.” Schaechter is one of seven new inductees into the American Craft Council College of Fellows. “I have become a craftsman and I have developed nothing but respect for it,” she says. Had she been challenged, she says, “I would have defended being a slob, vehemently defended it.” It was the ideas behind her work that mattered, she reasoned mastering glass was incidental. “I was very sloppy I was very impatient and I was just a bad craftsperson,” she says. Deepfocus.io allows you to listen to your favorite ambient sounds with music in timed productivity sessions. In the early days of her career as a stained glass artist, Judith Schaechter did not take her medium seriously. American Craft Council American Craft Council Main navigation
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