DOCSLIB.ORG

Executive Director

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Executive Director POSITION DESCRIPTION June 2017 The Tacoma Art Museum (TAM) Executive Director The Board seeks a fundraising arts leader to: manage in-process expansion built upon TAM’s 80+ years of Pacific Northwest and contemporary arts leadership; integrate new collections into TAM’s ambitious exhibition schedule; and enhance education experiences and public programming for Tacoma’s citizens and visitors. Founded in 1935 and with roots reaching back to predecessor arts organizations founded in the late 19th century, Tacoma Art Museum is the largest and operationally strongest museum in Tacoma. Poised for a step-change that solidifies TAM’s important position among regional museums and exposes the collection to national audiences, the museum requires a leader able to balance a focus on the visitor’s experience of art with fundraising and operating excellence. The Executive Director is expected to increase public embrace and attendance, strengthen TAM’s finances, update the organization’s operating infrastructure, and draw national and regional attention to the museum’s collections and programs. TAM collects and exhibits contemporary visual art, with an orientation toward contemporary artists of the Northwest and the American West. The museum’s permanent collection of over 4,500 works includes five areas of particular strength: contemporary art of the Northwest, including one of the world’s most important studio art jewelry collections, and works of Morris Graves, Michael Kenna, Jacob Lawrence, Akio Takamori, Mark Tobey, Rodrigo Valenzuela, Patti Warashina, and Nancy Worden; one of the world’s great collection of contemporary glass art, including the largest retrospective permanent exhibition by Tacoma glass artist Dale Chihuly, the Anne Gould Hauberg Collection, the Paul Marioni Collection, and the Benaroya Collection with important works by Kyohei Fujita, Stanislav Libenský and Jaroslava Brychtová, William Morris, Ginny Ruffner, Therman Statom, Lino Tagliapietra, Cappy Thompson, among others; 19th century European and early 20th century American art, including works by Jean-Baptiste-Camille Corot, Imogen Cunningham, Edgar Degas, Robert Henri, Edward Hopper, Pierre-Auguste Renoir, Camille Pissarro, John Singer Sargent, Andrew Wyeth, among other artists of renown; a collection of Japanese woodblock prints, one of the finest collections of such works in any West Coast museum institution; and the Haub Family Collection of Western American Art, one of the nation’s premier western American art collections, with approximately 300 works spanning 200 years, with works by Catharine Critcher, Georgia O’Keeffe, Thomas Moran, Alexander Phimister Proctor, Frederic Remington, Kevin Red Star, Bill Schenck, and Mian Situ. TAM operates in a 66,000 sq. ft. facility (with 19,500 sq. ft. of gallery space, in addition to other education and public spaces) open to the public six days a week. The museum has an annual budget of $5 million, a 30 member Board with 6 officers, 32 full-time and 20 part-time staff, roughly 120 volunteers, about 2,700 members, and annual attendance of about 80,000 with roughly half attending at no cost and others gaining admittance through tickets. The endowment amounts to about $30 million, which is comprised of a diversified investment portfolio. The endowment will increase to $35 million over the next years through already committed gifts. Tacoma Art Museum Executive Director Page 2 TAM has cultivated a reputation for exploring art in a way that involves visitors, artists, curators and the larger community in topics of contemporary interest. In service to this purpose, the museum plans to expand its funding, audience, exhibitions, programs, and services. Of particular concern is that TAM continually improves on its ability to engage people of different backgrounds and cultures in dialogue on issues of import to Tacoma’s diverse communities. PRIORITIES Reporting to the Board, the Executive Director is accountable for financially strengthening TAM while managing all aspects of the museum’s exhibitions, programs and operations. The Executive Director is expected to work closely with the museum’s Board and staff to: Build and diversify contributed and earned income through active outreach and aggressive donor solicitation; financially and operationally strengthen TAM by stewarding a development function that engages all staff and Board members in various fundraising activities; build membership and attendance to ticketed events; Continue building a reputation as a distinctive, exciting, thought-provoking museum to explore the art and material culture of the Northwest, North America and the world through exhibitions and other programming; effectively manage and expose TAM’s collections through exhibitions and programming, encouraging curatorial research and innovative exploration of the cultural heritage of our world; Cultivate a strong professional team, understanding staff contributions, strengths and concerns; through an open communication style, instill a sense of partnership and cohesion across the organization; reinforce a culture of excellence by adhering to the highest standards of museum practice; effectively use museum resources; Cultivate relationships with existing and new key stakeholders in the community in order to enhance and develop support for programs, including partnership opportunities with other museums and arts, educational and cultural institutions locally, nationally and internationally, and with local artists, community and business leaders; TAM has a values-based and strategic commitment to aggressively advancing a culture of Inclusion, Diversity, Equity, and Accessibility (IDEA) at the museum. Success in pursuit of the above priorities must be informed by an overarching goal of connecting to the incredibly diverse peoples of the region. It is not enough to have increased attendance, greater funding or a stronger staff for TAM; it is equally important that attendance reflect a diverse audience, that financial support also come from different peoples in the region, and that staff become more reflective of people of different cultures and perspectives. TAM’s Board defines success not only by whether goals are reached, but also how they are reached. The Executive Director will be the museum’s chief strategist, advocate, fundraiser and business manager, with the goal of making the Tacoma Art Museum a shining example for other visual arts institutions. RESPONSIBILITIES Relevant to the Executive Director’s success will be particular qualifications in four areas: ARTS LEADERSHIP: EXHIBITIONS, COLLECTIONS AND EDUCATION Credibility: A strong understanding of the significance of the permanent collection, its 2 Tacoma Art Museum Executive Director Page 3 strengths and weaknesses, and TAM’s place within the ecosystem of museums in the region and across North America; an ability to ensure that TAM’s reputation in the museum sector is continually strengthened. Exhibitions: A track record for exposing art to the general public in new ways while sustaining the highest scholarly standards; must have experience staging interesting, innovative activities, programs and events that engage the public and drive attendance to the museum and its exhibitions; Collections: Able to develop a systematic plan to strengthen and enrich TAM’s collection through careful acquisitions and develop relationships with collectors that may lead to appropriate gifts; identify funds and seek donors to support acquisitions; Education & Public Programs: Knowledge of different interpretive and educational approaches for the visual arts that engage and excite the public; an understanding of educational approaches, materials & tools, docent training & tours, school programs, use of partnerships and alliances, etc, with the objective of enhancing TAM’s reputation and building constituencies in the community; People: Knowledge of the strengths and weaknesses of current TAM curatorial and education staff, and of the strengths of professionals across the museum field internationally; a track record building and retaining strong teams of arts professionals. FUNDRAISING & REVENUE Contributed Revenue: Experience shaping strategies that maximize annual, principal gift, and in-kind gifts (particularly of works of merit); a track record working with a Board, development team, curatorial and other staff to develop diversified foundation, individual, public and corporate funding sources; experience with direct solicitation, and with proactive cultivation of donors, patrons, Board members and prospective Board members, inspiring ever greater loyalty and support; Evangelizing for the Museum: Serves as an articulate, passionate and persuasive spokesperson for the museum; represent TAM to all of its constituencies, funders, the public, government and private agencies, and the media; Earned Revenue: Experience converting attendance and public profile into revenue through membership sales, general admissions, ticket sales for special exhibitions, events, retail operations and facilities rentals. MARKETING AND AUDIENCE DEVELOPMENT Audience Development: Passionate about engaging both new and existing audiences and is a student of the shifting landscape of audience engagement; innovative in approach to the patron experience and can develop partnerships when needed to enhance it Branding and Marketing: Knowledge of branding strategies that help advance an institutional vision, drive museum attendance and maximize earned revenue; adopts new and bold approaches
Load more

Recommended publications
  • Download New Glass Review 15
    eview 15 The Corning Museum of Glass NewGlass Review 15 The Corning Museum of Glass Corning, New York 1994 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, daB sie inner- the 1993 calendar year. halb des Kalenderjahres 1993 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 Telephone: (607) 937-5371 Fax: (607) 937-3352 All rights reserved, 1994 Alle Rechte vorbehalten, 1994 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-133-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81 -641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 58 etztes Jahr an dieser Stelle beklagte ich, daB sehr viele Glaskunst- Jury Statements Ller aufgehort haben, uns Dias zu schicken - odervon vorneherein nie Zeit gefunden haben, welche zu schicken. Ich erklarte, daB auch wenn die Juroren ein bestimmtes Dia nicht fur die Veroffentlichung auswahlen, alle Dias sorgfaltig katalogisiert werden und ihnen ein fester Platz in der Forschungsbibliothek des Museums zugewiesen ast year in this space, I complained that a large number of glass wird.
    [Show full text]
  • New Glass Review 10.Pdf
    'New Glass Review 10J iGl eview 10 . The Corning Museum of Glass NewG lass Review 10 The Corning Museum of Glass Corning, New York 1989 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dal3 sie the 1988 calendar year. innerhalb des Kalenderjahres 1988 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare des New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1989 Alle Rechtevorbehalten, 1989 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Dusseldorf FRG Gedruckt in Dusseldorf, Bundesrepublik Deutschland Standard Book Number 0-87290-119-X ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der KongreB-Bucherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstler und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Verzeichnis der Eigennamen und Orte 53 er Wunsch zu verallgemeinern scheint fast ebenso stark ausgepragt Jury Statements Dzu sein wie der Wunsch sich fortzupflanzen. Jeder mochte wissen, welchen Weg zeitgenossisches Glas geht, wie es in der Kunstwelt bewer- tet wird und welche Stile, Techniken und Lander maBgeblich oder im Ruckgang begriffen sind. Jedesmal, wenn ich mich hinsetze und einen Jurybericht fur New Glass Review schreibe (dies ist mein 13.), winden he desire to generalize must be almost as strong as the desire to und krummen sich meine Gedanken, um aus den tausend und mehr Dias, Tprocreate.
    [Show full text]
  • Oral History Interview with Anne Wilson, 2012 July 6-7
    Oral history interview with Anne Wilson, 2012 July 6-7 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Transcription of this oral history interview was made possible by a grant from the Smithsonian Women's Committee. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Anne Wilson on July 6 and 7, 2012. The interview took place in the artist's studio in Evanston, Illinois, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Anne Wilson and Mija Riedel have reviewed the transcript. Their heavy corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Anne Wilson at the artist's studio in Evanston, Illinois, on July 6, 2012, for the Smithsonian Institution's Archives of American Art. This is disc number one. So, Anne, let's just take care of some of the early biographical information first. You were born in Detroit in 1949? ANNE WILSON: I was. MS. RIEDEL: Okay. And would you tell me your parents' names? MS.
    [Show full text]
  • 2636-011 Seattle Art Museum Records
    UNlVERSllY U BRARIJES w UNIVERSITY of WASHI NGTON Spe ial Colle tions 2764 Seattle Art Museum Records Inventory Accession No: 2636-011 Special Collections Division University of Washington Libraries Box 352900 Seattle, Washington, 98195-2900 USA (206) 543-1929 This document forms part of the Preliminary Guide to the Seattle Art Museum Records. To find out more about the history, context, arrangement, availability and restrictions on this collection, click on the following link: http://digital.lib.washington.edu/findingaids/permalink/SeattleArtMuseum2636/ Special Collections home page: http://www.lib.washington.edu/specialcollections/ Search Collection Guides: http://digital.lib.washington.edu/findingaids/search Seattle Art Museum Acc. #?.636-11 Modern Art Department CONTAINER LIST _ Box EXHIBITION FILES 1 LIST OF EXHIBITIONS FROM FILE DRAWER, APRIL 1975 through 1976 May 8 - June B, 1975: University of Washington Masters Theses Exhibition Organized by the Seattle Art Museum and the University of Washington Participants: Bob Magruder, V'lou Oliveira - ceramics Tim Ely, Larry Stair & Dennis Evans - design Margie Ogle, Jeanne Ilgen - metal jewelry Alan Bradley, Peggy Cooley, Jo David, Isabel Hamilton, Steve McClelland, Ithipol Thangchalok - painting Carl Chew, Brad Keil, Barbara McAusland, Sherry Markovitz, M~ke Peterson - printmaking Francie Allen, Stuart Branston, Tom Duchscher, Jim Feroe, Dave Gallagher, Kim Hoffman, Margaret Hays - sculpture Carol Wood, Pat Spatk, Sherry Charles, Melinda PhilJips - textiles May 8 - June 22, 1975: Prints from the Untitled Press Organized by the Wadsworth Atheneum, Hartford, Connecticut Participants: Cy Twombly, Brice Marden, David Bradshaw, Bob Petersen, Robert Whitman, Robert Rauschenberg, Hisachika Taka Hashi April 1 - May 6, 1975: Selections From Seattle Art Museum Permanent Collection Organized by the Seattle Art Museum.
    [Show full text]
  • Press Release Embargoed Until 12:01 Am Pst, January 14, 2016
    PRESS RELEASE EMBARGOED UNTIL 12:01 AM PST, JANUARY 14, 2016 Media contacts: Libby Mark or Heather Meltzer, 347-460-5566, [email protected] Julianna Verboort, 253-272-4258 x3011 or [email protected] BENAROYA COLLECTION GIFTED TO TACOMA ART MUSEUM Legacy Gift Comprises 225 Works of Studio Art Glass, Paintings, and Sculptures by Northwest and International Artists Gift Includes Funds for New Wing to be Designed by Tom Kundig, Endowment for Collection Care, and Curatorial Position Preview of the Collection to go on View in October 2016 Tacoma, WA —Tacoma Art Museum (TAM) announced today that Becky Benaroya has bequeathed the collection that she and her late husband Jack Benaroya carefully assembled during their 70 years of marriage. The collection of 225 works includes Northwestern and international studio art glass along with important paintings and sculptures by renowned regional artists. The gift, announced on Mrs. Benaroya’s 93rd birthday, includes a contribution for the construction of a new 7,390 square-foot gallery addition in which to present the collection, an endowment fund for its care, and funds for a dedicated curator. The contribution to support the gift totals nearly $14 million. TAM’s expanding collection further establishes the Pacific Northwest as the nation’s art glass epicenter. The new wing will be designed by award-winning architect Tom Kundig of Seattle-based Olson Kundig and is projected to open in fall 2018. It will house 5,700 square feet of gallery space, in addition to 1,690 square feet for public facilities and support functions. Tom Kundig successfully completed TAM’s Haub Family Galleries in November 2014.
    [Show full text]
  • Glass Today: 21St-Century Innovations June 21–Sept
    Glass Today: 21st-Century Innovations June 21–Sept. 21, 2014 New Britain Museum of American Art It was not until the second half of the 20th we mounted a major group exhibition of century, however, that glass production contemporary glass. I am grateful to the was freed from domestic consumption and Baekelands for their promised gift of glass became an end in itself with Harvey Littleton to the Museum and want to especially thank as the seminal figure leading the charge. In Joan for her participation as a consultant particular, Lino Tagliapietra, inheriting the in this enterprise and for the generous ancient Venetian love of glass, and Dale contribution toward our opening festivities. Chihuly, who has championed blown glass as a medium for installation art, exemplify the Jim Schantz and Kim Saul of the Schantz spirit of the new age. Since these trailblazers, Galleries, Doug and Katya Heller of the Heller glass programs and specialized schools have Gallery, and Claire Oliver of the Oliver Gallery emerged across the country and around the have unsparingly loaned key works from world, and today, every imaginable method their stable of artists, and Jim has written a Introduction & Acknowledgements of production is freely employed. Glass now most insightful essay for this publication. Since Douglas Hyland, Director knows no limits. Such artists as Beth Lipman, 1999, several of the Museum’s trustees have whose commission Aspects of (American) embarked on collecting glass and I want to Life is being unveiled in conjunction with the acknowledge the cooperation and support of opening of this exhibition, have produced glass Sharon and Hank Martin, Kathryn and Thomas The 21st century heralds another golden age created, traded, and prized as never before.
    [Show full text]
  • DANTE MARIONI Twelve Iconic Works in Glass
    DANTE MARIONI Twelve iconic works in glass 31 October – 28 November 2020 M E S S U M S Y O R K S H I R E Messums Harrogate is delighted to welcome the internationally recognised pioneering glass artist Dante Marioni to its James Street gallery this November with a presentation of twelve new and iconic works. The gallery will be open from 10am – 5pm Thursday to Saturday. This show runs alongside an exhibition of abstract drawings by Northumberland artist Charles Poulsen. Both exhibitions demonstrate Messums commitment to showcasing the best of contemporary art and craft to art lovers and collectors in the north of England. Marioni’s signature style has been described as the purest of classical forms executed in glass by an American glassblower. His amphoras, vases, and ewers draw inspiration from Greek and Etruscan prototypes. As the world’s leading reticello glass artist - an Italian technique of trapping bubbles of air within a lattice pattern – this exhibition presents some of the most desirable objects ever made in glass. Messums Yorkshire, 4-6 James Street, Harrogate, Yorkshire HG1 1RF The son of American studio glass pioneer Paul Marioni, Dante was raised in a family of artists that also includes two well-known uncles, painter Joseph Marioni and conceptual artist Tom Marioni. Dante first held a blowpipe at the age of nine. By the time he was 15, he was working after school at one of the first cooperative hotshops and showrooms, The Glass Eye, in Seattle Washington. Although he loved glassblowing, making production studio glass felt limiting.
    [Show full text]
  • The Coming Museum of Glass Newglass Review 23
    The Coming Museum of Glass NewGlass Review 23 The Corning Museum of Glass Corning, New York 2002 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made between der Voraussetzung ausgewahlt, dass sie zwi- October 1, 2000, and October 1, 2001. schen dem 1. Oktober 2000 und dem 1. Okto- ber 2001 entworfen und gefertig wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Rew'ewkonnen angefordert werden bei: The Corning Museum of Glass Buying Office One Museum Way Corning, New York 14830-2253 Telephone: (607) 974-6821 Fax: (607) 974-7365 E-mail: [email protected] To Our Readers An unsere Leser Since 1985, New Glass Review has been printed by Seit 1985 wird New Glass Review von der Ritterbach Ritterbach Verlag GmbH in Frechen, Germany. This Verlag GmbH in Frechen, Deutschland, gedruckt. Dieser firm also publishes NEUES GLAS/NEW GLASS, a Verlag veroffentlicht seit 1980 auBerdem NEUES GLAS/ quarterly magazine devoted to contemporary glass- NEW GLASS, eine zweisprachige (deutsch/englisch), making. vierteljahrlich erscheinende Zeitschrift, die iiber zeitge- New Glass Review is published annually as part of the nossische Glaskunst weltweit berichtet. April/June issue of NEUES GLAS/NEW GLASS. It is Die New Glass Review wird jedes Jahr als Teil der Mai- also available as an offprint. Both of these publications, ausgabe von NEUES GLAS/NEW GLASS veroffentlicht. as well as subscriptions to New Glass Review, are avail­ Sie ist aber auch als Sonderdruck erhaltlich.
    [Show full text]
  • The Juliette K
    The Juliette K. and Leonard S. Rakow Research Library The Corning Museum of Glass Finding Aid for the ARTIST FILES, ARTIST INTERVIEWS & ADDITIONAL INFORMATION COMPILED BY KAREN CHAMBERS (bulk 1975–2000) ACCESS: Open for research BIBLIOGRAPHIC #: 59848 COPYRIGHT: Requests for permission to publish material from this collection should be discussed with one of the following: the Archivist, Librarian, or the Rights & Reproductions Manager. PROCESSED BY: Nive Chatterjee, May 2007 PROVENANCE: Karen Chambers donated this archive in 1999 SIZE: 14 linear feet (15 boxes) The Juliette K. and Leonard S. Rakow Research Library The Corning Museum of Glass 5 Museum Way Corning, New York 14830 Tel: (607) 974-8649 TABLE OF CONTENTS Karen Chambers 3 Scope and Content Note 4 Series Descriptions 5-6 Box and Folder List 7-24 Series I: Artist Files 7-18 Sub-Series A: Artist Files (slides) Sub-Series B: Artist Files (non-slides) Sub-Series C: Artist Interviews Series II: Articles, Notes, Report & Slides 18-21 Sub-Series A: Slides Sub-Series B: Glass in Different Countries Sub-Series C: Articles, Notes & Report Sub-Series D: Miscellaneous Series III: Audio Cassettes 21-24 Sub-Series A: Audio Cassettes Sub-Series B: Audio Microcassettes 2 KAREN CHAMBERS Karen Chambers received her B.F.A. from Wittenberg University, Springfield, OH, and her M.A. in art history from the University of Cincinnati. From 1983 to 1986, Karen Chambers was editor of New Work, now Glass: The UrbanGlass Quarterly, published by UrbanGlass. She has written over a hundred articles on glass for magazines including: Neues Glas, Art & Antiques, The World & I, and American Craft.
    [Show full text]
  • Contemporary Glass at Racine Art Museum
    Contemporary Glass at Racine Art Museum Contemporary The landscape of contemporary art is diverse –– whether Glass describing types of work, subjects explored, or materials at RAM used. Perhaps arguably, it can be said that it is getting more and more difficult to describe an artist or a kind of work by media as there is often a blending of materials and a hesitancy to emphasize one aspect of a work over another. Having said that, there is still a lot to be learned by looking at a material—and artistic uses of it—in depth. With an ever expanding catalog, Racine Art Museum’s collection of works made of glass offers this opportunity with hundreds of examples created by some of the best known names in the field as well as emerging talents. Believing that the last few decades have been a historically significant time for artistic advancement, RAM has concentrated on the achievements of glass in the US and abroad to capture a clear picture of the movement’s growth. As is true with all facets of RAM’s collections policy, multiple examples by a single artist are acquired to demonstrate his or her process of development over a period of time. Not only are there sculptures, reliefs, and vessels, there is also adornment. RAM regularly exhibits works made primarily of glass in both collection and loan exhibitions—investigating the media in concentrated ways such as Handle With Care in 2012, which featured new acquisitions to the collection, and in the same year, (opposite) Paul Marioni Jester , 1987 Glass 10 3/16 x 6 inches diameter Racine Art Museum,
    [Show full text]
  • Contemporary Art
    MUSEUM OF FINE ARTS, BOSTON Annual Report Acquisitions July 2012–June 2013: Contemporary Art Object No. Artist Title Culture/Date/Place Medium Credit Line 1. 2012.459.1-8 Brenden Scott French (Australian, Tectonic Trace #2 2011 Kiln formed glass Otis Norcross Fund born in 1969) wall panels 2. 2012.460.1-11 Janet DeBoos (Australian, born in That Time of the Morning 2009 Glazed porcelain William E. Nickerson Fund 1948) 3. 2012.461 Michael Frimkess (American, born Mickey Mouse vase 1986 Glazed stoneware Gift of Dale and Doug Anderson in 1937) 4. 2012.462a-b Michael Frimkess (American, born Underdog Urn 1991 Glazed stoneware Gift of Dale and Doug Anderson in 1937) 5. 2012.463 Kathy Butterly (American, born in Hoola American, 1995 Glazed and gilded The Daphne Farago Collection 1963) Probably New York, porcelain New York 6. 2012.464 Kathy Butterly (American, born in Fling American, 2004 Glazed porcelain The Daphne Farago Collection 1963) New York, New York and earthenware 7. 2012.629.1 Nicole Chesney Verity (magenta blue) 2011 Oil painting on Museum purchase with funds acid-etched and donated by John and Bette Cohen mirrored glass 8. 2012.629.2 Nicole Chesney Repose 2011 Oil painting on Museum purchase with funds acid-etched and donated by John and Bette Cohen mirrored glass 9. 2012.629.3 Nicole Chesney Verity (blue green gray) 2011 Oil paint, glass, Museum purchase with funds aluminum donated by John and Bette Cohen 10. 2012.711 Forrest Myers (American, born in Cream Cycle 1997-2010 Powder coated Gift of the Alex Katz Foundation 1941) aluminum wire 11.
    [Show full text]
  • Red Huckleberry Erect Shrubs, Often
    CABBAGECABBAGE WHITESWHITES & THIMBLEBERRYTHIMBLEBERRY KIOSKKIOSK #08#08 Northwest Native Conifers Pilchuck Glass School Pioneers & Auction Centerpiece Designers Sitka Spruce 1997 - Tracy Glover & John Chiles (Elegant Designs) The largest tree in the Gardens stands to your right, countless other young Sitka Tracy is a glass artist of much fame, trained at the Rhode Island School of Design and Pilchuck Spruce surround you; they do well in moist soil like ours. Rough broken bark Glass School; she specializes in glass lighting and decorative accessories. In 1997 she collaborated indicates a spruce, but its sharp needles are the best indicator. It can grow to: with John Chiles, who began his work in 1980 and continues today from Vermont (Tracy is in RI). Original editions are found in PLC’s Permanent Collection; 15’ diameters 300 feet tall with sharp, 1” needles In 1997, like other artists for 3 Decades, they gave weeks of their time for the Glass School’s beneit. these are scaled, attached replicas. live 800 years drive from CA to BC and you will ind no trees older than 150 years! 2007 - Michael Fox (Nested Vessel) Its wood is very strong and was once used for airplane propellers. During WW II the largest plane ever then built, Michael’s design emphasized the contrast of colors, giving inspiration to the 40 Poleturners, the “Spruce Goose” was made of Sitka Spruce (it’s now housed in the Evergreen Museum, McMinnville, Oregon 261 gaffers, and production people necessary to produce 80 centerpieces in 2007. Michael’s background miles from here). Once an important lumber and pulp tree, but now rarely planted in favor of Douglas Fir.
    [Show full text]