Collector / Craftsman Relationship

Lorien

Lorien

Nose to the Grindstone
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Knifemaker / Craftsman / Service Provider
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Much of the credit for the development of the modern world of custom knives goes to the artisans, craftsmen and Artists who breathed life into steel, bone, wood, stone and leather, and brought these knives into being.


How important has the interaction with collectors been?

Would things continue to develop and evolve without this relationship?

If yes, how do you think these developments and evolutions would manifest themselves, regarding style, materials, etc?

Would you define this relationship as one of buyer/seller, or is there more to it?

Without the patronage of their collectors, where do you think today's custom knife makers would be, and what would they be doing?
 
It would not be possible for our creativity to express, or the
art as a whole, to have developed to it's present state without
the financial, intelectual, and creative input of those clients
who become supporters and frequentyl, friends.
 
Russ Andrews said:
It would not be possible for our creativity to express, or the
art as a whole, to have developed to it's present state without
the financial, intelectual, and creative input of those clients
who become supporters and frequentyl, friends.
Click to expand...

Total agreement here. One couldn't have said it better.
 
it's kind of an odd question really


if no collector ever bought a knife from me again I would still make knives.

but i have no doubt whatsoever that my creative output would be diminished.

some of my best work has been the result of being challenged by a design idea suggested by a customer.

I think in order for me to move forward and grow as an ARTIST I need input, advice, and especially critique from collectors who's opinion I trust.
 
Russ Andrews said:
It would not be possible for our creativity to express, or the art as a whole, to have developed to it's present state without the financial, intelectual, and creative input of those clients
who become supporters and frequentyl, friends.
Click to expand...

Very well said Russ. :thumbup:
Good thread Lorien.
 
I agree to every word said so far!

Knife art and design as of 2009 has reached a level where imagination,
technology and artistic capabilities intermingle to produce true masterpieces.

We have to salute the gifted custom knifemakers as well as the custom knife
collectors who lovingly promote this art around the world and often elevate
through collaborations the the final products of this art form.

But one should not forget that without displaying this amazing knife art in
exhibition quality, laboriously created high quality full color composite
illustrations, in books and magazines, all the above would be relatively
limited to a very small group of people.... Especially as nothing of this
modern art form is can be found in museums that are frequented by
the general public....

All the best,
David Darom (ddd)
 
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Speaking as an engraver only, I have no doubt but that I would continue trying to test myself to do better --- to increase the quality of my work. I believe anyone who considers themselves to be a true artist wouldn't be able to tolerate doing anything but their finest possible work. Show me an artist who would ever say that his work was without flaw ---- that couldn't be improved. An artist will continue to strive for unobtainable perfection in all his works even without clients/patrons --- he can't help it.
 
Per

"Especially as nothing of this modern art form is can be found in museums that are frequented by the general public...."

Cutlery is not a modern art form. Individual knifemakers have been creating "high art" in knives and swords for at least a 1000 years.

There are few modern knives in museums, but there are plenty of pre-20th century knives, swords, axes, etc. in art, historical, arecheological, military etc. museums. That's where I got my first taste of the "art" of the blade as a child, being bored by the paintings, but wowed by the swords and knives in an art museum.

Per the role of print media, or even the internet in the "art of knives." No photograph of a knife can fully express the "art" of a knife just like no photo of a painting or sculpture is a substitute for the real thing. Unfortunately, a knife can only be truly appreciated when held in the hand. Unlike pictures and sculpture, a knife must be held to be appreciated. But to be fully appreciated, a knife must also be used or "experienced" and in this way knife-art is a "performance art." No picture in a book or on the internet can capture "the meaning" of any artwork and its even harder for the printed media to even begin to represent performance art. The best a picture can do is tease. However, that does not mean that a photograph of a knife cannot be "art" in and of itself as a picture.

People need to get out and see knives at shows where you can handle them to truly know the art form. People need to use their knives, to get the full experience of this "performance piece of art."
 
BROWNSHOE ---- I'm in total agreement with you re. the publics lack of knowledge about some of the quality work being performed/created presently. How to educate them ?........... Collectors such as our Mr. Kevin Jones and others could display their collection at open art events or some such affair. Knife collectors such as Mr. Jones is an afficinado of art and probably in other forms as well. It has been my experience that appreciates quality & beauty would/could recognize it in various forms other than the than canvas,bronze, stone & etc. that is usually seen in museums and art shows. The N.Y. met museum recognized highly engraved firearms as an art form when at one time it was considered a craft. FWIW ...........

PS .... feedback re. this posting welcomed & appreciated
 
David- indeed you are correct, and it was while reading your books that I began to understand the nature of the Artist/patron, crastman/collector relationship, (or whatever you want to call it).

Brownshoe- over the ages, knives and swords have also fulfilled fetishistic, ritualistic and ornatmental roles, where the knife is 'used' in only symbolic ways; as a bridge to the spiritual world, or as an expression of status.

Although many people would see the knife, (during ceremonies or on the belt of a blue blooded aristocrat) only very few would ever be allowed to handle or touch it. Unless they were unlucky enough to be on the receiving end. That didn't diminish the stature of the knife, and quite likely elevated it.

Perhaps that's where photography fits in- it serves as a ceremony where appreciation for the object can be disseminated and expressed. But not touched, and thus elevated beyond being a simple everyday object to something of mythic or Artistic stature.

Russ- your post was excellent and I believe you summed up your approach to knife making, and evidently did so for others as well.

Stephan- you brought up the value of trusting in your patron's opinions in developing your own Art. But you also said that you would continue to make knives in a vacuum if you had to. There is a seeming dichotomy there, and I won't dispute it, as it's is unresolvable. Which is why this question is so interesting to me.
 
Lorien said:
Stephan- you brought up the value of trusting in your patron's opinions in developing your own Art. But you also said that you would continue to make knives in a vacuum if you had to. There is a seeming dichotomy there, and I won't dispute it, as it's is unresolvable. Which is why this question is so interesting to me.
Click to expand...


nicely said, I'm afraid you've done a better job of making my point than I did.

thanks
 
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