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University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley. -
Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. 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 Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. 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 ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis. -
Textile Society of America Newsletter 29:2 — Fall 2017 Textile Society of America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2017 Textile Society of America Newsletter 29:2 — Fall 2017 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Materials Conservation Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Industrial and Product Design Commons, Interdisciplinary Arts and Media Commons, and the Metal and Jewelry Arts Commons Textile Society of America, "Textile Society of America Newsletter 29:2 — Fall 2017" (2017). Textile Society of America Newsletters. 80. https://digitalcommons.unl.edu/tsanews/80 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 29. NUMBER 2. FALL 2017 Photo Credit: Tourism Vancouver See story on page 6 Newsletter Team BOARD OF DIRECTORS Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of Communications) Designer: Meredith Affleck Vita Plume Member News Editor: Caroline Charuk (TSA General Manager) President [email protected] Editorial Assistance: Natasha Thoreson and Sarah Molina Lisa Kriner Vice President/President Elect Our Mission [email protected] Roxane Shaughnessy The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for Past President the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, [email protected] political, social, and technical perspectives. Established in 1987, TSA is governed by a Board of Directors from museums and universities in North America. -
Keynote Addressâ•Flsummary Notes
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 Keynote Address—Summary Notes Jack Lenor Larsen Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Larsen, Jack Lenor, "Keynote Address—Summary Notes" (2004). Textile Society of America Symposium Proceedings. 494. https://digitalcommons.unl.edu/tsaconf/494 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Keynote Address—Summary Notes San Francisco Bay as the Fountainhead and Wellspring Jack Lenor Larsen Jack Lenor Larsen led off the 9th Biennial Symposium of the Textile Society of America in Oakland, California, with a plenary session directed to TSA members and conference participants. He congratulated us, even while proposing a larger and more inclusive vision of our field, and exhorting us to a more comprehensive approach to fiber. His plenary remarks were spoken extemporaneously from notes and not recorded. We recognize that their inestimable value deserves to be shared more broadly; Jack has kindly provided us with his rough notes for this keynote address. The breadth of his vision, and his insightful comments regarding fiber and art, are worthy of thoughtful consideration by all who concern themselves with human creativity. On the Textile Society of America Larsen proffered congratulations on the Textile Society of America, now fifteen years old. -
Oral History Interview with Merry Renk
Oral history interview with Merry Renk Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Merry Renk AAA.renk01 Collection -
Working Checklist 00
Taking a Thread for a Walk The Museum of Modern Art, New York, October 21, 2019 - June 01, 2020 WORKING CHECKLIST 00 - Introduction ANNI ALBERS (American, born Germany. 1899–1994) Untitled from Connections 1983 One from a portfolio of nine screenprints composition: 17 3/4 × 13 3/4" (45.1 × 34.9 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York. Gift of The Josef and Anni Albers Foundation in memory of Joseph Fearer Weber/Danilowitz 74 Wall, framed. Located next to projection in elevator bank ANNI ALBERS (American, born Germany. 1899–1994) Study for Nylon Rug from Connections 1983 One from a portfolio of nine screenprints composition: 20 5/8 × 15 1/8" (52.4 × 38.4 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York. Gift of The Josef and Anni Albers Foundation in memory of Joseph Fearer Weber/Danilowitz 75 Wall, framed. Located next to projection in elevator bank ANNI ALBERS (American, born Germany. 1899–1994) With Verticals from Connections 1983 One from a portfolio of nine screenprints composition: 19 3/8 × 14 1/4" (49.2 × 36.2 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York. Gift of The Josef and Anni Albers Foundation in memory of Joseph Fearer Weber/Danilowitz 73 Wall, framed. Located next to projection in elevator bank ANNI ALBERS (American, born Germany. 1899–1994) Orchestra III from Connections 1983 One from a portfolio of nine screenprints composition: 26 5/8 × 18 7/8" (67.6 × 47.9 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York. -
CHRONOLOGY 1988 Richard House, Wendy Jacob, Laurie
CHRONOLOGY 1988 Richard House, Wendy Jacob, Laurie Palmer, and John Ploof decide to work together; all live in Chicago 857 N. Winchester, Chicago, Open House Walker's Point Center for the Arts, Milwaukee, Housekeeping 1989 LaFollette Park Fieldhouse, Chicago, Murmur Visiting Artist Lecture and Workshop: University of Iowa, Iowa City Funding: Project Grant, Kansas City Art Institute, Missouri Council for the Arts; Grant Program for Interdisciplinary Artists, Randolph Street Gallery, National Endowment for the Arts, Rockefeller Foundation Laurie moves to Santa Barbara, California. Haha works long-distance. 1990 Kansas City Art Institute, Kansas City, Missouri, Plenty, curated by Sherry Cromwell- Lacy Visiting Artist Lectures: Kansas City Art Institute, Kansas City, Missouri; Associated Colleges of the Midwest, Chicago. 1991 Daniel Buchholz Galerie, Booth #46, Cologne Art Fair, Cologne, Germany. Daniel Buchholz Galerie, Cologne, Germany, Venloer str. 21 & Brüsseler str. 85 Castello di Rivara, Rivara, Italy, Il delizioso occhio...(The delicious eye...) curated by Benjamin Weil for “Itineraries” 1992 The Museum of Contemporary Art, Chicago, Rumor, curated by Beryl Wright for “The Armory - Occupied Territory” Magasin, Centre National d’Art Contemporain, Grenoble, France, Nana, curated by L’Ecole du Magasin for “Entre Chien et Loup” Ludwig Forum für Internationale Kunst, Aachen, Germany, Purse, curated for “Dirty Data,” Sammlung Schürmann The New Museum of Contemporary Art and The Cultural Services of the French Embassy, New York, Errata, organized by Kerri Scharlin for “The Big Nothing ou Le Presque Rien” Lectures: The School of the Art Institute of Chicago, Sculpture Chicago, University of Illinois at Chicago; College Art Association Conference, Chicago, "The Situation of Pleasure: Profusion & Multiplicity in Site-Specific Installation," panel chaired by Buzz Spector Laurie moves back to Chicago; all four Haha members live in Chicago again. -
Peter Giopulos Files on Campus
Peter Giopulos Collection Artist Files Box A-B Folder # 1 – Art on Campus intro Folder # 2 – Art Walk Map Folder # 3 – Web Art Bill Stewart Folder # 4 – Art on Campus (A) Ansel Adams Samuel Marcus Adler George Gustave Adomeit Ahlgren, Roy B Charles Curtis Adams Frank Milton Armington Milton Clark Avery Folder # 5 – Josef Albers Folder # 6 – Mari Alexander Folder # 7 – Architecture on campus Folder # 8 – Harry Bertoia Folder # 9 – Art on campus (B) Otto Henry Bacher Federico Fiori Barocci Norman Arthur Bate Will Barnet Gustave Baumann Lester Beall Frank Weston Benson Thomas Hart Benton Alistair Bevington Sander Blondeel Milton Bond Walter H Cassebeer Borglum, Gutzon Philip Bornarth Charlotte Bowman Folder # 10 – Donald Bujnowski Doors Folder # 11 – Photo printed from collection Bujnowski 11 copies of 8x11 photographs of his work Box C-F Folder # 1 – Art on Campus C Robert Carter Walter H Cassebeer Wendell Castle John Channell Philip Cheney Ohi Chozaemon Carl Chiarenza John Scott Clubb Eugene C. Colby Robert Conge, Lila Copeland John Edwards Costigan James Crable Frank Craig Byron G Culver Folder # 2 – Augustus Wall Callcott Folder # 3 – Hans Christensen Folder # 4 – Art on campus [D-F] Henry Golden Dearth Henry De Maine Jose De Rivera David Dickinson Mitsui Eiichi Alejandro Fernandez Robert Fergerson Richard Aberle Florsheim Emil Fuchs Folder # 5 – Eisenhower dresses & Paintings in stage – Physical plant Folder # 6 – Harold (Hal) Foster Folder # 7 – Donald J Forsythe Box G-L Folder # 1 – Dan Kiley Folder # 2 – Art on Campus (G-H) Emil Ganso Moton Garchik Charles Dana Gibson Arthur Eric Rowton Gill Janet Goldner Nancy Gong Marion Greenwood Emile Albert Gruppe, Folder # 3 – Gordon Grant Folder # 4 – Gordon, Stanley Folder # 5 – Art on Campus (H) Silvanus G. -
Newsletter/Fall 2016 the DAS DAS the Decorative Arts Society, Inc
newsletter/fall 2016 Volume 24, Number 2 Decorative Arts Society The DAS DAS The Decorative Arts Society, Inc. in 1990 for the encouragement of interest in, the appreciation of and the exchange of information about the decorative arts. To, is pursuea not-for-profit its purposes, New theYork DAS corporation sponsors foundedmeetings, Newsletter programs, seminars, tours and a newsletter on the decorative arts. Its supporters include museum curators, academics, collectors and dealers. Please send change-of-address information by e-mail to [email protected]. Board of Directors Editor President Gerald W. R. Ward Gerald W. R. Ward Senior Consulting Curator & Susan P. Schoelwer Senior Consulting Curator Katharine Lane Weems Senior Curator Robert H. Smith Senior Curator Katharine Lane Weems Senior Curator of of American Decorative Arts and George Washington’s Mount Vernon American Decorative Arts and Sculpture Emeritus Mount Vernon, VA Sculpture Emeritus Museum of Fine Arts, Boston Museum of Fine Arts, Boston Boston, MA Boston, MA Treasurer Stewart G. Rosenblum, Esq. Robert C. Smith Award Committee Coordinator Jeannine Falino, Chair Ruth E. Thaler-Carter Secretary Independent Curator Freelance Writer/Editor Moira Gallagher New York, NY Rochester, NY Research Assistant Metropolitan Museum of Art Lynne Bassett New York, NY Costume and Textile Historian Program Chairperson Dennis Carr Emily Orr Carolyn and Peter Lynch Curator of The DAS Newsletter is a publication Assistant Curator of Modern and American Decorative Arts and of the Decorative Arts Society, Inc. The Contemporary American Design Sculpture purpose of the DAS Newsletter is to serve as Cooper Hewitt, Smithsonian Design Museum of Fine Arts, Boston, MA a forum for communication about research, Museum Boston, MA exhibitions, publications, conferences and New York, NY other activities pertinent to the serious Emily Orr study of international and American deco- Margaret Caldwell Assistant Curator of Modern and rative arts. -
Ontario Crafts Council Periodical Listing Compiled By: Caoimhe Morgan-Feir and Amy C
OCC Periodical Listing Compiled by: Caoimhe Morgan-Feir Amy C. Wallace Ontario Crafts Council Periodical Listing Compiled by: Caoimhe Morgan-Feir and Amy C. Wallace Compiled in: June to August 2010 Last Updated: 17-Aug-10 Periodical Year Season Vo. No. Article Title Author Last Author First Pages Keywords Abstract Craftsman 1976 April 1 1 In Celebration of pp. 1-10 Official opening, OCC headquarters, This article is a series of photographs and the Ontario Crafts Crossroads, Joan Chalmers, Thoma Ewen, blurbs detailing the official opening of the Council Tamara Jaworska, Dora de Pedery, Judith OCC, the Crossroads exhibition, and some Almond-Best, Stan Wellington, David behind the scenes with the Council. Reid, Karl Schantz, Sandra Dunn. Craftsman 1976 April 1 1 Hi Fibres '76 p. 12 Exhibition, sculptural works, textile forms, This article details Hi Fibres '76, an OCC Gallery, Deirdre Spencer, Handcraft exhibition of sculptural works and textile House, Lynda Gammon, Madeleine forms in the gallery of the Ontario Crafts Chisholm, Charlotte Trende, Setsuko Council throughout February. Piroche, Bob Polinsky, Evelyn Roth, Charlotte Schneider, Phyllis gerhardt, Dianne Jillings, Joyce Cosgrove, Sue Proom, Margery Powel, Miriam McCarrell, Robert Held. Craftsman 1976 April 1 2 Communications pp. 1-6 First conference, structures and This article discusses the initial Weekend programs, Alan Gregson, delegates. conference of the OCC, in which the structure of the organization, the programs, and the affiliates benefits were discussed. Page 1 of 153 OCC Periodical Listing Compiled by: Caoimhe Morgan-Feir Amy C. Wallace Periodical Year Season Vo. No. Article Title Author Last Author First Pages Keywords Abstract Craftsman 1976 April 1 2 The Affiliates of pp. -
Lauren Kalman Press Release
ARTIST LAUREN KALMAN COVERS JEWELRY CASES FROM MUSEUM’S PERMANENT COLLECTION IN OVER 2,000 GOLDEN BRASS KUDZU LEAVES Lauren Kalman: But if the Crime Is Beautiful… October 20, 2016–March 15, 2017 NEW YORK, NY (October 14, 2016) – From October 20, 2016, to March 15, 2017, the Museum of Arts and Design (MAD) presents Lauren Kalman: But if the Crime Is Beautiful.… Taking up the subject of gold, specifically its use in jewelry and adornment, the installation by metalsmith and performance artist Lauren Kalman is the second POV exhibition in MAD’s Tiffany & Co. Foundation Jewelry Gallery. The title refers to Austrian architect Adolf Loos’ 1908 treatise “Ornament and Crime,” an essay that has been called one of the most radical polemics of design criticism in the twentieth century. In it, Loos declares decoration regressive, degenerate, primitive, and criminal— characteristics he associates with women and minorities, and makes synonymous with moral decay. He advocates instead for a new aesthetic based on rational and unornamented design, which became known as Western-European modernism. In Kalman’s installation, she protests Loos’ spare aesthetic and commits a “crime” by covering the inside and outside of MAD’s upright white jewelry cases in thousands of golden brass 2 COLUMBUS CIRCLE NEW YORK, NEW YORK 10019 P 212.299.7777 MADMUSEUM.ORG leaves. They weave in and around modernist and contemporary jewelry pieces from MAD’s collection, upending the minimalist austerity of the gallery. To create the installation, Kalman surveyed MAD’s jewelry collection and chose over 60 gold pieces from the midcentury forward. -
Sheila Hicks CV
SHEILA HICKS Born Hastings, Nebraska 1934 EDUCATION 1959 MFA, Yale University, New Haven, CT 1957 BFA, Yale University, New Haven, CT SELECTED SOLO EXHIBITIONS 2018 Sheila Hicks: Life Lines, Centre Pompidou, Paris, France, February 6 – April 30, 2018. Sheila Hicks: Send Dessus Dessous, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, March 30, 2018 – February 2, 2019. Down Side Up, Sikkema Jenkins & Co., New York, NY, May 24 – July 6, 2018. 2017 Sheila Hicks: Glossolalia, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, April 1 – November 5, 2017. Sheila Hicks: Hilos Libres. El Textil y Sus Raíces Preshispánicas, 1954-2017, Museo Amparo, Puebla, Mexico, November 4, 2017 – April 2, 2018. Sheila Hicks: Stones of Piece, Alison Jaques Gallery, London, England, October 4 – November 11, 2017. Sheila Hicks: Hop, Skip, Jump, and Fly: Escape from Gravity, High Line, New York, New York, June 2017 – March 2018. Sheila Hicks: Au-delà, Museé d’Arte Moderne de la Ville de Paris, Paris, France, December 1 – May 20, 2018. 2016 Si j’étais de laine, m’accepteriez-vous?, galerie frank elbaz, Paris, France, September 10 – October 15, 2016. Apprentissages, Festival d’Automne, Musée Carnavalet, Paris, France, September 13 – October 2, 2016; Nanterre-Amandiers, Paris, France, December 9 – 17, 2016. Sheila Hicks: Material Voices, Joslyn Art Museum, Omaha, Nebraska, June 5 – September 4, 2016; travels to: Textile Museum of Canada, Toronto, Canada, October 6, 2016 – February 5, 2017. Sheila Hicks: Why Not?, Textiel Museum, Tilburg, The Netherlands, March 5 – June 5, 2016.