bnsaijim

Andy,

Hear, Hear.

I feel Andy's pain. And, as I'm sure is his intent, there is much more to this.

1. Organization

While GSBS has proven to an effective model for several state level organizations none as yet have been able to match their accomplishments either due to IMO simple age or internal "issues"... Can a regional or national oufit even reproduce their model succesfully?

Statewide we have LSBF, modelled after GSBF. In Texas we don't fill our venues, i.e., conventions and the one or two artist tours. True, workshops get filled up but convention attendees tend to be a core group of folks that do these events. Vendors do so-so. The main focus of LSBF tends to be to the beginner and intermediate bonsaist. Events are kept inexpensive and they've tried a variety of approaches. Yet our success level after decades does not seem to approach GSBF whether measured in enthusiasm, participation, cash flow, or number of quality bonsai. These are my observations, perhaps it might be worth comparing data. Bottom line is that I think we do okay but should be able to better given our potential resources.

ABS reflects not only it's humble beginnings (read the old issues) but also the state of the art in this country. While ABS may not be strictly aimed at the hobbyist, it is, as is BCI, rather cliqueish. Perhaps not intentionally but simply because there is always that group of people that do everything, the old 80:20 principle. The same names appear over and over.

2. Geography

Think of the sheer enormity of the land mass we're talking about. While this is not an issue for existence of an organization it does present numerous obstacles for a quality exhibition, i.e., "Ginko".

How do we have a truly representative show?

While such an event has occurred in the past, the participants, correct me if I'm wrong, appeared to be those already in the inner circle, the convention attendees "movers and shakers", etc. They were in that cliche that publishes all the articles, attend all the shows etc. Very few names in the resulting book are truly "obscure"...

Regardless of the participants there is still the packing up and moving of rather expensive trees and pots, liability, etc., all for a short term event.

3. PURPOSE

May I ask the question "Who needs this organization, this event?" Andy Rutledge? Jim Stone? The hobbyist? The "Artists"?

I was warned away from this sort of thing by someone who's been there done that and now sells the t-shirts, being that I profess to be more about the art than the politics...

But at the same time it'd be great to have this pool to swim in... to have bonsai promoted to high art, or at least "craft" from obscure hobby or horticultural oddity- with backing behind it...

I think this is called looking for a free ride... Why do I personally like the concept- more venues, pitting my work against others, greater respect and awe... Porsches, champagne and groupies...

Really though, most of it goes back to wanting to see EXCEPTIONAL bonsai produced right here in the US of A- stuff that makes everyone's heads turn, worldwide.

Why is ABS, etc. not filling this need? Why are they not seeing it? Someone always seems to be left out in the cold- the "Artiste", "the hobbyist/Enthusiast", the "professional"...

I get the idea that Andy is really concerned with catering to the "artiste"...

Is there really an advantage to this Picasso image vs. Bob Ross?

4. Paradigms

Recently on ClayArt a potter wrote in about how his name was left off the gallery invitation for a mixed media exhibition- paintings and his pots. The director wrote it off as oversight but it led to a wider discussion about how pottery is generally not viewed as art but "craft" and most potters are thought of as dirty smelly bandana'd old hippies making "stuff".

One potter living in Japan pointed out how this is not so over there.

Sound like some common themes are at play here? I believe Carl R. can offer some anecdotal obervations here, as can the various potters.


5. MONEY

Tied with number 3 above, one typically does not see the same price tags associated with pots vs. paintings, or "real art". Anyone remember Walter's comments about prices of the paintings vs. his bonsai when the two were paired?

Much of this will come back to the almighty dollar. Follow teh money trail. Ever see a National Endowement go to supporting bonsai? Think a gallery will even care, unless perhaps it's owned by an enthusiast?

Let me talk of what I know directly. There is no "real" bonsai shop in Houston. I sell supplies at shows, club meetings and mail order. Another guy has a landscape nursery, he'll board your trees, and sell you a "mallsai". Too many folks are unwilling to work with quality material (i.e., expensive); that whole extreme honor in frugality thing- look what I dragged from the dumpster (if it lives) in 30 or 40 years this'll really be SOMETHING! We'll get a few hundred over a weekend to attend our shows. If anything else is going on in the city we'll suffer.

The line is clearly drawn at club meetings and these forums every day. There's the artists/elitists and the "hobbyists". While fanaticism may be rampant on both sides only one will extend extremes of financial, physical and mental reserves for little trees in pots. Who will be passionate enough to (repeatedly) step in and do the work or support the events?

Will Fred from Arkansas go to New Hampshire? CA Al to Florida? Jay to New Mexico? Show trees in tow and pockets full of spending money to support the event? For a hobby? I think it will take all three to pull this off. I hazard to suggest there is simply not enough crossover from the latter to the former to swell the ranks and suppport such large undertakings.

I think Andy is asking that we battle the Hydra. Not only do we have to form and support this thing, but we also have to change the bonsai paradigm, not only amongst our own ranks but that of the art world as well as the general public.

Which head do we tackle first?

Sincerely,

Jim Stone
TX