American Bonsai at the NC Arboretum

and now a few from the walter pall show
and he was assisted by jim doyle of natures way and jennifer price of hidden gardens

i really dont have many photos (and they are kind of crappy), but lots of video (those will take some time)

the material



the man



the work





the embodiment of OOOMPH and powerful style



the end



sorry about the branch in your face jennifer !

and that was about the best 20-some bucks i have spent in a looooong time !

hopefully someone has some better pics to contribute...

Hello Walter,

Thank you for your latest response. You and I were able to spend some time together during your recent visit to Asheville and we talked at length about all sorts of this and that, including your impressions of the Artisan's Cup event and some of what we have been discussing in this exchange of open letters. By the time you left I was tired and worn out, mostly because of all the effort expended in the run-up to the Carolina Bonsai Expo, but also some of my fatigue was simply from being around you so much. You are so boisterous, opinionated and larger-than-life that a quiet person like me gets drained from being too much in your presence. Maybe mine is like the plight of those humble deciduous trees that have to go on display next to the loud and flamboyant collected conifers. Anyway I decided I would take a little time off from this dialogue. Actually, even as I write this I am thinking maybe I should wait a little longer, as I am not yet feeling quite up to the task. However, that which is started should be seen through to its completion and I set out on this project with the intention of getting to a certain point. You are not going to get it there by yourself so I will have to do my part.

Your opinions about the Artisan's Cup have been clearly articulated and well publicized. I take it as a given that they are probably right, given that you have an uncommonly comprehensive overview of bonsai in this country and around the world and you are thinking about bonsai and where it is going to a greater degree than most anyone else I know. My response is little more than a shrug. If Modernism is a great wave about to wash all over the US, I have little choice but to stand out of the way and watch it go by. You say the style of the Artisan's Cup is definitely not the style of bonsai at the NC Arboretum, and you are clearly correct. The reason is twofold: we do not at present have any such Modernistic trees in our collection, and I am personally ambivalent about them. My lack of attraction to them means we are unlikely to pursue having them anytime in the near future. This stance might strike some as being arrogant or foolish, or both, but I do not think it is either. Modernistic bonsai is an exclusive game. My objective as curator of a public collection is to do whatever I can to make bonsai more inclusive.

In my last letter to you I outlined some conclusions I have reached regarding bonsai, and you mostly agreed with all of them. What I am doing in my work with American bonsai at the NC Arboretum is acting on those conclusions. Modernistic bonsai requires a special type of material to which we do not have access, and more importantly, to which the great majority of people do not have access, so if we want to make bonsai more inclusive Modernistic is not the way to go. Additionally, the chest-thumping technical bravado of the Modernistic work is less appealing to the general public, I think, than is the quietness and 'Zen feeling', as you put it, of other forms of bonsai. No, I have not done formal surveys to arrive at this opinion, but I make a practice of paying attention to how people respond to bonsai, and in this case I am talking about the general public and not those immersed in the bonsai world. I think Modernistic bonsai are perceived mostly as dramatic curiosities by the public. They may find them impressive, but coldly so. What is there for the average person to relate to? The most prevalent positive response I hear expresses itself through the desire of possession, as in, "I want to own that thing!" This is the same reaction provoked by an expensive car, or a big diamond necklace, or a hot young fashion model. From a marketing standpoint, if you are a dealer in Modernistic bonsai or the kind of material necessary to produce it, or if you are a bonsai guru who promises to teach people to become accomplished in that style, then the wave that is supposedly coming out of Portland to flood the world is indeed good news. If you think bonsai has some value beyond surface appeal and status, well, maybe not.

It is understood I am not telling you anything you do not already know; I am only staking out my own position. If Modernistic was the only option I would have little interest in bonsai. It does not speak to me in any way that is personally meaningful. This is the same feeling I have about Neo-classical bonsai. As far as I can see Neo-classicalism is what most bonsai practitioners are engaged in, whether they know it or not. Now perhaps some of them will hear the Siren song of Modernism and jump overboard to reach it. From what you write about how Modernistic bonsai will now be winning all the show awards it seems you think this will be the case, but time will tell. Meanwhile, thank goodness for Naturalism!

Hear!  Hear!

I think Modernistic bonsai are perceived mostly as dramatic curiosities by the public.

I call them "gee whiz" trees, and I include many of Kimura's more off-the-wall, designed-by-Mixmaster, twisty evergreens with them.

You look once, think "Gee that's a lot of work" and pass on.

no matter what side of the fence(s) someone is on, i dig the candor with which you state your position, arthur.
...part of why i enjoy your company.

Arthur Thank You and a loud AMEN.

Really appreciate your honest assessment Mr. Joura, not only myself but probably a lot of bonsai practitioners can relate to what you've  written.    Modernistic is unsustainable and only few elitist collectors can pursue them.  If bonsai professionals count on the mass to make their living, by emphasizing modernistic, would it be counter productive to them?  The massive grandeur Japanese beech have been in training at Pacific Bonsai Museum for more than 40 years was valued less than three conifers that have been in training for less than 5 years; if this kind of judging becomes the norm, then good luck to some of the oldest souls that currently still reside on some of the highest mountains in the west.

van

All these new and young internet generation ''superstars'' travelling the world doing demos in front of big crowds and all producing the same old (new?) tired old ''modern kimura'' styled trees is already wearing thin with me. What can someone half my age (if that) teach me? I already know what they are going to do with the tree before they even start.
There are lots coming here now as well and you hear comments from club members like ''You think THIS guy is good then wait till THAT guy comes next year!'' They are all the same! They style the trees the same, and they all have the same attidude.
These guys (bless 'em) have had a few years training in Japan (perhaps) and all of a sudden are bonsai masters? I don't think so. IMO they have not had enough time contemplating the art and what it means. The essence of bonsai is long term by it's very nature. You need more than a few lessons in styling to appreciate the subtle and yet very deep emotion a tree can/should give you as you observe it's changes through the seasons and through the years as it slowly matures. This is where the greatest pleasure comes from. (for me)
As sure as the sun rises in the morning, these guys will slowly come to realize that as well. At least some will. The others will just get bored at looking at the same tree every day and sell it or give up on the art altogether as the ''wow'' fator is only transient.
In other words if you can derive the same pleasure from a small nicely shaped twig with one or two blossoms on it as you can from a modern ''masterpeice juniper'' then IMO you're on the right track.

MichaelS wrote:In other words if you can derive the same pleasure from a small nicely shaped twig with one or two blossoms on it as you can from a modern ''masterpeice juniper'' then IMO you're on the right track.

i, for one, may not have agreed with everything you have stated, or maybe how you have stated it, on this thread michael, but i do believe that there is absolutely no argument with that last sentence !!! (and the ones preceding it in that post).

fair dinkum

Me too, except for this: 

What can someone half my age (if that) teach me?

EVERYBODY has something to teach, and EVERYBODY has something to learn -- if they will.

BTW, Arthur sent his final note on the 20th Expo to participating clubs, and touched upon the discussion here.  An excerpt follows (and I hope I'm not stealing his thunder from another post):

To All, . . .  (several paragraphs deleted)


It happened that just 2 weeks before our show there was another bonsai show out in Portland, OR, that went by the name of "The Artisans Cup". It was a big deal, in bonsai circles anyway. It was held in the Portland Art Museum, it attracted work from top bonsai people all over the country, large cash prizes were given out for winning trees, and the stated intention of the show was to raise the level of bonsai as an art form in America. It was successful, by all accounts, and I am glad for its success.

I could not help but compare, in my own mind, that show with the Carolina Bonsai Expo. Although both were bonsai shows, they could hardly be more different in their character. The Artisans Cup was in its first year, while the Carolina Bonsai Expo was in its 20th. The Cup was intended to make a big splash and a lot of money was spent on it, about 50 times the amount of money used to stage the Expo. The Cup was held in an art museum so as to make the point that bonsai should be regarded as an Art, and individuals paid a substantial fee just to submit their work for consideration, as is often done with major art shows. Meanwhile at the Expo our show, as usual, was organized around bonsai clubs in our region, with the emphasis placed on enjoying bonsai as a creative pastime. The Expo is held at an arboretum, making the point that bonsai is first and foremost a horticultural activity, inexorably tied to nature. Whereas the Cup was positioned to be a high-minded and important event meant to showcase the uppermost level of artistic accomplishment, the Expo was aimed at being lively and fun. I will add that there was legitimate art enough on display at our show, too, but overall we were much less self-conscious about it. In short, where the Cup strove for polished formality and importance, the Expo took pride in being comfortable, familiar and friendly. I do not know how many people attended the Artisans Cup, but somewhere between 4 and 5 thousand people came out to see the Carolina Bonsai Expo, in a much smaller market town than Portland.

I like our bonsai show. I like the feeling that is in the air all that weekend, a feeling of camaraderie born of a shared enjoyment of the beauty of nature. I always want the Expo to improve, but I would never want it to get better at the expense of that camaraderie. Sorry, but there will be no cash prizes in the foreseeable future. . . .

Arthur

So, if you are one of those who feels that bonsai must be one of the fine arts, I guess you have your venue.  For me and others, I suspect, a bonsai exhibit is about the bonsai, not about how they are displayed.   We have our venue also -- in the Carolinas and up in NY with Bill's National Exhibition.

But Jim, why not both?

I'm not in the US so the nature of US shows is of only passing interest to me. The wider debate that this reflects is fundamental though.

Why can we not recognise that different styles/schools exist without lording one and denigrating another?

Why can we not be wowed by the drama of modern bonsai "sculptures" and yet still be moved by the subtlety of the quieter broadleaf trees (as Walter put it)?

Why can we not pursue our own individual or cultural innovations while recognising and respecting the oriental (Chinese as well as Japanese) origins of this art form?

And as for show, surely the choice is not truly between high end, high cost exclusivity or low cost, friendly camaraderie? Surely both can, will and ultimately must co-exist? As I said, I don't live in the US so it's of little consequence to me but I can't help thinking that if I did (practicalities not withstanding) I would have liked to attend both shows and like to think I might have enjoyed and learned a lot from both too! Why not embrace the diversity, it sounds like a very healthy situation for American bonsai to be in.

Still, over here we had Bonsai Europa instead which appears to sit somewhere between the two so maybe we have the best of both worlds too. Either way I have my bonsai preferences of course like everyone else but I also have very broad tastes and that's the way I like it. Others are entitled to a different opinion (it would be very, very boring if we all agreed about everything).

Regards

Richard

JimLewis wrote:For me and others, I suspect, a bonsai exhibit is about the bonsai, not about how they are displayed. 

but still, alot of thought and creativity obviously goes into the expo club displays and it shows !!!

and if lovin' that is wrong, i don't wanna be right...

Michael I and perhaps others would be very interested in your bio, bonsai time line and examples of you work over time. Is there a link you can provide?

DougB wrote:Michael I and perhaps others would be very interested in your bio, bonsai time line and examples of you work over time.  Is there a link you can provide?

Doug, I've posted some trees for you too look at in ''Members trees''.

Stunning fall colors Arthur!! Thanks for sharing them!

Arthur,

Thank you for the beautiful photos. Yushimura Island is one of my favorite bonsai in the country. (Funny some of your American Hornbeams are still green and my autumn foliage is way past prime and dropping.)

I appreciate your many contributions to the bonsai community. This thread is very educational and entertaining.

I too am glad that the Artisan's Cup was a success and best of luck to the Neil family. Being a bonsai hobbyist I cannot help but feel that the whole Cup thing seems very elitist. It seems like it takes alot of money to be in that group. I bet many others are like me and while wanting to improve their skills have no desire to spend mega-bucks for instruction and materials. (Heck, I can't even lift one of those trees.)

I remember an old saying that goes something like "always go home with the one that took you to the dance." There are many that have been sacrificing and working hard for the bonsai community for many years. And most of these are people that offer their goods and services for reasonable prices and in some cases no cost at all. (Arthur is one of these people as well as Walter and our friend William N. Valavanis.)

Just sayin'. With the exception of Michael Hagedorn's excellent blog, the bonsai movement in the Pacific Northwest isn't going benefit all of us. And I don't go for this "defining American Bonsai" thing. There's nothing new under the sun. Dan Robinson and Kimura have been doing the same thing for years, not to take anything away from Ryan Neil who is a very talented bonsai artist. Styles, art or craft or hobby, etc. are all a matter of semantics in my view. Call it what you will.

I fully agree with Arthur, bonsai should be accessible and promote community, cooperation, enjoyment. Oh, and let's not forget about the National Exhibitions put on by William N. Valavanis and his folks.

Best,

Augustine

AJ - this is one damn sultry tree !!!



in its autumnal state of near undress
and glistening in the rain - it is no less

like the allure of a woman in the midst of a dance
the undulations beseech, for more than a glance


sorry
couldn't help myself

[quote="beer city snake"]AJ - this is one damn sultry tree !!!

in its autumnal state of near undress
and glistening in the rain - it is no less

like the allure of a woman in the midst of a dance
the undulations beseech, for more than a glance

You beast!

My favorite too..

MichaelS wrote:You beast!  

(good ol' tex avery)

beer city snake wrote:AJ - this is one damn sultry tree !!!



in its autumnal state of near undress
and glistening in the rain - it is no less

like the allure of a woman in the midst of a dance
the undulations beseech, for more than a glance


sorry
couldn't help myself

Kev
Carolina Hornbeam about 18-20" tall....not as large as it appears to me in the photo
i think it is in a S. Raynor pot??
it was part of the arboretum's display during the 2012 Nationals.

Arthur... nice rainy day photos! I hope you feel a strong sense of pride and accomplishment in how you have developed and grown the arboretum's collection!

jgeanangel wrote:
Kev
Carolina Hornbeam about 18-20" tall....not as large as it appears to me in the photo
i think it is in a S. Raynor pot??  
it was part of the arboretum's display during the 2012 Nationals.

thanks john... i believe that the petite stature makes her even more appealing...
i am probably seen her in person, but while being overwhelmed by the gardens at the same time...
but seeing her on her own is quite different.

Thanks to Dan, Michael and John for reading and posting kind comments. Augustine, I appreciate you sharing your thoughts. I am a proponent of the "Big Tent" approach to bonsai - as in, bonsai is a big tent and there is plenty of room for all kinds of ideas under the shelter of its cover. I think I see the influence of money coming more and more into the picture in the way some are attempting to steer the course of bonsai, at least in the US, and I recognize there is an upside to this. There is also a downside to it. I am not personally interested in looking at bonsai in a money-oriented light, but it is all the same to me if others want to pursue it in that way. There is room enough for them and me and everyone else under the big tent.

Kev, my friend, I am beginning to understand the "snake" part of your on-screen moniker. Now I will have to keep a closer eye on you whenever you are around my plants. I am glad you enjoyed, in your own particular way, the American Hornbeam (Carpinus caroliniana) whose image I posted. Perhaps you would like to see picture of *her* back side?



Yowsa! Actually, that is a close up of the trunk-chop scar made when I first started working on this specimen back in 1993. It serves as a reminder that although American hornbeam is one of the best North American species for bonsai use, one of its drawbacks is how long it takes the tree to cover over wounds with callous material. That cut was probably about 1.5" (3.81cm) in diameter when it was made, and after 22 years it still has not completely covered over.

What follows are a few more images, sans rain, of deciduous trees showing off in the NC Arboretum's bonsai garden about 3 weeks ago. The color show is over now, and the plants are all put up for the winter.

Trident Maple (Acer buergerianum):



Ginkgo (Ginkgo biloba):



Japanese Maple (Acer palmatum):



Tamarack (Larix laricina):



Chinese Elm (Ulmus parvifolia):



American Beech (Fagus grandifolia) and Eastern Hemlock (Tsuga canadensis):



Summersweet (Clethra alnifolia):



Chinese Quince (Pseudocydonia sinensis) with its 2 ripe, pendulous, rounded fruits hanging brazenly in the open breeze (Kev? Kev???):



And finally, Natchez Crape Myrtle (Lagerstroemia X 'Natchez'):



The above tree was used for the 2015 Carolina Bonsai Expo logo. It did not happen until 2 weeks after the Expo was over, but it did indeed turn as red as the way the logo showed it!

Very Attractive Arthur !!
Thanks
Khaimraj

amazing bark for a Chinese Elm.