DOCSLIB.ORG

Digital Photo Proof Pages

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Digital Photo Proof Pages F single cover #41:ToC 1/9/14 2:21 PM Page 1 10 th ANNIVERSARY super eichler 2626 SPRING 2014 super eichler blastsblasts fromfrom thethe pastpast 4242 modmod budgetbudget makeovermakeover 1212 $6.95 us/can On sale until May 31, 2014 TOC 41:ToC 1/9/14 4:03 PM Page 2 contents features 12 working class heroes: modern makeover on a budget Wherein a Seattle rambler receives some TLC 22 my favorite space: chicago, ill. A traditional brick ranch meant for mod living 26 smells like team spirit If you own the iconic Kaufmann House, how cool can your Eichler be? 42 blasts from the past Early AR ranches get a second look 58 kicking up the curb appeal A split-level ranch gets a new facade—and then some 12 68 nick of time: inspiring community Palm Springs’ El Rancho Vista Estates is on a roll 26 42 TOC 41:ToC 1/9/14 4:03 PM Page 3 spring 2014 departments 4 meanwhile, back at the ranch 6 modern wisdom 20 home page Oklahoma, New Jersey & Michigan on the fridge 64 books & backs & more 22 70 ranch dressing Game-set-match, glass IDs and an Austin Powers–worthy sofa 74 events 75 resources 77 coming up in atomic ranch 80 atomic advertisers 58 cover We see a typical postwar architectural theme— private front facade vs. a wide-open rear window wall with seamless access to the outdoors—in this meticulously renovated Eichler in Orange, Calif. A new pool, modernist cabana, hardscaping and plantings give an inkling of the refreshed and restored finishes and features you find inside. Would you expect anything less from the owner of the iconic Kaufmann House? Story page 26. PubLetter 41:PUBLET 1/9/14 3:54 PM Page 4 meanwhile... back at the ranch ith just a bit of exhaustion, it’s deeply satisfying to welcome you to our 10th Anniversary issue. When we started publishing back in 2004 and received an enthusiastic response from readers all around the country, I knew that there was easily enough material to craft many years of Wmagazines. But seeing the reality of 41 issues stacked on my desk is still a joy. Certainly this achievement happened because of the many people who have kindly shared their homes and stories with all of us; often we were just the presenter. As for the longevity of the subject, it seems that every month we receive notice of a midcentury neighborhood achieving recognition status, or weekly hear from new converts saving a time capsule home from the ’50s and ’60s. There are still plenty of good stories out there. We joke in the office that every one of our stories hews to this basic outline: “I found this dump, I fixed it up and now I love it.” An unstated corollary is: “I’ll never leave this wonderful house.” But in reality, relationships, tastes and jobs change, and many people move on from their professed dream homes. In anticipation of this issue, a year ago I sent emails to our earliest featurees and, surprise, surprise, some actual- ly responded and a few of that group were still living in their atomic ranches. That’s the basis of our look-back story, “Blasts From the Past,” on page 42. We salute these homeowners for their constancy; they are in a committed, long-term relationship with their home. photo by Javier Szwarcberg For Michelle and me, our first year was full of excitement mixed with the mundane. On the morning of our first issue’s cover photo session, I discovered a flat tire on my Honda photo van. I had to pull out all the packed equipment to get to the space-saver spare, and then we drove at reduced speed on the freeway to the Glendale home, dreading that this was not a harbinger of our new endeavor. Mornings seemed to present challenges: Arriving at another shoot, we found the proud owner still asleep. We cooled our heels for a while as he roused himself, and then Michelle had to make the bed pre- sentable for photos. It could only improve from this point, we hoped, and in fact most homes have been spotless and ready for their close-up. Ten years on now, memories and connections still pop up. While driving to this issue’s spectacular Eichler cover house, I was amazed to realize that three previous cover homes (Nos. 8, 11 and 13) were all within easy walking distance—a truly remarkable coincidence, and a demonstration of the high quality of reno- vated homes in that neighborhood. Of course it’s our talented staff that helps make it all possible: Cheyenne Tackitt, who keeps the office running smoothly. Nancy Anderson, our art director from the very beginning, is particularly adept at turn- ing out silk purses. Christina Walker finds the most interesting advertisers and keeps them happy. Carol Flores skillfully creates and assembles the ads that contribute to such entertaining reading. And Josh Tackitt instantly fixes our technology problems and maintains our website. Our final thanks go to you, our readers; your enthusiastic support sustains us. Jim Brown, Publisher 4 atomic ranch SPRING 2014 masthead 41:Hatch 1/9/14 3:13 PM Page 5 ® Publisher Matte Nickel with Bamboo Blades Jim Brown >> Editor Michelle Gringeri-Brown Flow Art Director Nancy Anderson Advertising Design Carol Flores Logo Design John Skelton Editorial Assistant Cheyenne Tackitt Web Design Josh Tackitt Copy Editor Marcelle Heath Advertising Manager Cool by Design Christina Walker 503.297.5605 [email protected] Publishing Office 3125 SE Rex St. Portland, OR 97202-8573 503.771.4171 p 503.771.4172 f [email protected] atomic-ranch.com facebook.com/groups/friendsofarmag Subscriptions & Address Changes: Atomic Ranch, PO Box 9624, Ft. Lauderdale, FL 33310-9624 866.518.1369 954.653.3950 atomic-ranch.com USA: $19.95 1 yr / $36.95 2 yrs CAN: $27.95 1 yr / $49.95 2 yrs Outside USA/CAN: $55.95 1 yr Not responsible for undelivered issues due to late change of address. All rights reserved by Atomic Ranch, Inc. Printed by American Web Distributed by Comag Marketing Group LLC Atomic Ranch is printed on recycled paper. Celebrating the modern idiom modernfan.com Letters 41 no ad_3pgs:Letters/Modern Wis 1/9/14 3:11 PM Page 6 modernwisdom ven though our house was built in 1978, it out fear. The reality of the situation is that we still allow is a ranch very reminiscent of many mid- asbestos on automobile brake pads in many parts of century modern homes. We recently North America. The chance of being exposed to E remodeled our kitchen, which holds a asbestos fibers at a major intersection is likely higher pretty complete set of dishes purchased than being exposed to friable fibers in one’s home. from a man and his sister who were costumers on Ralph Lembcke Hollywood movie sets. The remainder of the house is decorated with many period-correct antique pieces Ralph is the author of ‘What TV Doesn’t Tell You About Working With a Contractor’ in Winter 2013, another good nuts-and-bolts feature. Both back issues are available at atomic-ranch.com. —ar editor ✱ I’m writing to you about a hidden jewel in Chattanooga, Tenn. Deck’s Glassware has thousands and thousands of old dishes, discontinued sets, glasses, Pyrex, vases, etc.; it is a treasure trove. Chester Deck, from the late ’40s thru the early ’60s—right up to our completely restored 1959 Olds Super 88 in the garage. who owns it, will not have enough money to Gordon & Cindy Richards advertise, but here are two stories about the place: http://goo.gl/7sjH4q and http://goo.gl/ZxRTiG. ✱ Just a quick note to thank you for the balanced We were there yesterday, and a couple had driven and well-written article in the recent issue under the down from Illinois to shop after seeing the article. ‘Keep It Up’ banner [Fall 2013]. All too often people Mr. Deck was ecstatic that we bought $50 worth of just panic when they hear the word ‘asbestos,’ and stuff, including Fostoria Early American chubbies. Terence Davis does a careful job to instill respect with- Betsy Alderman 6 atomic ranch SPRING 2014 Letters 41 no ad_3pgs:Letters/Modern Wis 1/9/14 3:11 PM Page 8 morewisdom ✱ I recently discovered your magazine with the A few things to consider: We live in Las Vegas, we try Summer 2013 issue and was very impressed. It will be a very hard to conserve water and we have four small go-to resource for me, and I plan to subscribe. children under the age of six. Attached are a few pic- In the letters section, a gentleman asked about Laurel tures; one is of seven circular wood disks that we have Lamps and the dearth of information. I, too, have been in our possession, and we also have access to quite a frustrated with the lack of info on the company, but as bit of flagstone. luck would have it, I recently acquired a 1974 Laurel Thank you so much for any time and consideration Lamp catalog. Here is a scan of the cover; it has a ton that can be given to our curb-appeal project. of photos and some info on the company. I am trying Erin Maffey to figure out if there is any interest in this and how best to distribute the info. Both Adam’s and Erin’s topics are a perfect fit for the Adam Chiavoli hive minds on our two Atomic Ranch Facebook groups.
Load more

Recommended publications
  • WINTER 2007 • Russel Wright • New Aussie Digs $5.95 $7.95 Can on Sale Until March 1, 2008 TOC 2 16 10/18/07 10:57 AM Page 6
    F_AR issue16 cover 10/17/07 5:10 PM Page 1 WINTER 2007 • russel wright • new aussie digs $5.95 $7.95 can On sale until March 1, 2008 TOC 2 16 10/18/07 10:57 AM Page 6 contents features 18 atomic aussie New construction down under channels the ’50s. 34 russel wright: 20th century tastemaker The designer’s daughter on growing up Wright. 48 artists in residence A homemade modernist house in Echo Park. 62 collecting: shirt-pocket transistor radios The great-great granddaddy of the iPod. 72 houston two-step Two Texas households that could not be 18 more different. 34 48 TOC 2 16 10/18/07 10:58 AM Page 7 winter 2007 departments 10 meanwhile ... back at the ranch 12 modern wisdom 30 home page Midcentury ranches in scenic Nebraska, Delaware and Tejas. 82 60 atomic books & back issues 69 postscript Digging up house history 82 cool stuff Goodies to whet your appetite 88 ranch dressing Chairs, daybeds, block resources and more. 94 events Upcoming MCM shows 98 buy ar 99 coming up in atomic ranch 99 where’d you get that? 100 atomic advertisers cover A home in Echo Park, Calif., has been in the 62 same family since it was built in 1950. The master bedroom’s birch paneling was refinished and the worn original asphalt tile replaced with ceramic pavers. The bed is by Modernica and the bedside lamp is a 1980s “Pegasus” by artist Peter Shire, who grew up in the house. His “Oh My Gatto” chair sits near the picture window.
    [Show full text]
  • Design Goals
    58 CHAPTER 5 The Objects of the American-Way Program Design Concepts For Russel Wright, the democracy of the machine and the individuality of the craftsman were each elemental to the American character and national wellbeing. As an organizing construct of the American-Way program, the combination of hand- and machine-made products became a prescription for American homes and a merging of production processes. Singly and as a collection, they reflected the blending of professional design with amateur experimentation, rural handcraft with studio art, factory processes and traditional folkways. A notable effect of this multiplicity of intentions in the American-Way products was a duality of nature in some of the products. Machine-made products sometimes looked like they were made by hand, and vice versa. Mary Wright’s designs for Everlast Aluminum, for example, had the hand-made properties of hammered aluminum, although they were a factory production (Figure 8). Likewise, Russel’s Oceana line, which predated the American-Way program but was incorporated into it, was a mass-produced series of wooden accessories carefully designed to look as if they had come from the hand of a woodworker (Figure 31). Conversely, objects considered part of the crafts program, such as Norman Beals’ Lucite bowls, had slick, rigid qualities reminiscent of the machine (Figure 9). Another material cross-fertilization resulted from the way Wright structured the program, asking designers and artists in some cases to contribute designs completely outside their fields of expertise. Thus, architect Michael Hare designed wooden tableware; movie set designer and House Beautiful contributor Joseph Platt did glassware; and painters Julian Levi and John Steuart 59 Curry supplied designs for printed drapery fabrics.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information C om pany 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313 761-4700 800/521-0600 Order Number 9031153 The utilitarian object as appropriate study for art education: An historical and philosophical inquiry grounded in American and British contexts Sproll, Paul Anthony, Ph.D.
    [Show full text]
  • Wright, Russel, Home, Studio and Forest Garden; Dragon Rock (Residence)
    NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMBNo. 1024-0018 MANITOGA Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Fonn 1. NAME OF PROPERTY Historic Name: Manitoga Other Name/Site Number: Wright, Russel, Home, Studio and Forest Garden; Dragon Rock (residence) 2. LOCATION Street & Number: NY 9D Not for publication: City/Town: Garrison Vicinity: State: New York County: Putnam Code: 079 Zip Code: 10524 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): _ Public-Local: _ District: _X Public-State: _ Site: _ Public-Federal: Structure: _ Object: _ Number of Resources within Property Contributing Noncontributing 2 _J_ buildings 1 0 sites 0 0 structures 0 0 objects 1 Total Number of Contributing Resources Previously Listed in the National Register: 3 Name of Related Multiple Property Listing: Hudson Highlands Multiple Resource Area Designated a NATIONAL HISTORIC LANDMARK on FEB 1 1 2006 by the Secretary of the Interior NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) 0MB No. 1024-0018 MANITOGA Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this __ nomination __ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60.
    [Show full text]
  • Art Deco Tea Sets and Cocktail Sets Making Modernity Accessible
    Art DecO Tea SetS and cOcktail SetS Making MOdernity AcceSSible Melanie Keating Submitted under the supervision of Jennifer Marshall to the University Honors Program at the University of Minnesota-Twin Cities in partial fulfillment of the requirements for the degree of Bachelor of Arts, summa cum laude in Art History. 12/11/2013 Abstract: This essay examines American Art Deco tea sets and cocktails sets and their accessibility to a large audience. It covers the origin of Art Deco and describes certain common features by visually analyzing relevant examples. It argues that Art Deco tea sets and cocktail sets blended aspects of modern and traditional design in order to appeal to progressive and conservative consumers. The designers studied include Jean Puiforcat, Norman Bel Geddes, Virginia Hamill, Gene Theobald, Louis W. Rice, Russel Wright, Howard Reichenbach, and Walter von Nessen. 2 Art Deco Tea Sets and Cocktail Sets Making Modernity Accessible Art Deco debuted in the 1920s and continued to be popular in design for several decades. Clean lines, symmetry, and lack of ornamental details all characterize this bold style (see figures 1 and 5 for examples). Geometric forms based on machines, such as circles, rectangles, spheres, and cylinders, are typical elements. When color is used, it is bright and high contrast. Art Deco was a branch of modernism, a cutting-edge art style, and it also celebrated the scientific advances and rise of the machine associated with modernity during the Interwar Period. Art Deco takes its name from the 1925Exposition internationale des arts décoratifs et industriels modernes in Paris, where it first appeared.
    [Show full text]
  • Artist Philanthropist
    the artist as philanthropist strengthening the next generation of artist-endowed foundations a study of the emerging artist-endowed foundation field in the U.S. study report supplement 2013 the artist as philanthropist strengthening the next generation of artist-endowed foundations a study of the emerging artist-endowed foundation field in the US study report supplement 2013 Christine J. Vincent, Study Director Study Committee Alberta Arthurs Charles C. Bergman James T. Demetrion Lowery Stokes Sims James Allen Smith Stephen K. Urice Study Report published 2010. Study Report Supplement published 2013. www.aspeninstitute.org/psi/a-ef-report The views expressed are those of the authors and are not of the Program on Philanthropy and Social Innovation or the Aspen Institute, its trustees, or its funders. The Aspen Institute’s Program on Philanthropy and Social Innovation (PSI) seeks to inform and maximize the impact of grantmaking foundations, nonprofit organizations, social enterprises, and public-private partnerships through leadership development initiatives, convenings, and communications so that each can contribute to the good society at home and abroad. The Program’s theory of change rests on the premise that if their leaders have clarity about their values, are collaborative in their approach to problem-solving, and are aware of the strategies and potential partnerships available to them, they are more likely to succeed in advancing the social good. The Aspen Institute is an educational and policy studies organization with a mission to foster leadership based on enduring values and to provide a nonpartisan venue for dealing with critical issues. The Institute is based in Washington, DC; Aspen, Colorado; and on the Wye River on Maryland's Eastern Shore.
    [Show full text]
  • CV Michele Oka Doner-MOD Site Oct 16-Published
    Michele Oka Doner CV SOLO EXHIBITIONS 2021 Fire, Grounds for Sculpture, Hamilton, New Jersey 2020 The Missing Element, Manitoga. Russel Wright Design Center, Garrison, NY 2018 Stringing Sand on Thread Adler Beatty Gallery Fluent in the Language of Dreams, Wasserman Projects, Detroit, Michigan (Catalog) Strategic Misbehavior, Tower 49, New York, New York (Catalog) Bringing The Fire, David Gill Gallery, London, UK 2017 Into The Mysterium, Lowe Art Museum, University of Miami, Miami, Florida (cat.)(video) Surf Club, Historic Photo Exhibition, curator, Surfside, Florida 2016 How I Caught A Swallow in Mid-Air, Perez Art Museum Miami, Florida (catalog) Michele Oka Doner at David Gill Gallery, PAD, London 2015 Mysterium, David Gill Gallery, London, UK Feasting On Bark, Marlborough Gallery, New York, New York (catalog) 2014 The Shaman’s Hut, Christies, New York, New York (catalog) 2012 Earth, Air, Fire, Water. Art Association of Jackson Hole, Jackson Hole, Wyoming 2011 Michele Oka Doner: Exhaling Gnosis, Miami Biennale, Miami, Florida (catalog) Neuration of the Genus, Dieu Donné Gallery, New York, New York (catalog) 2010 Down to Earth, Nymphenburg Palace, Munich, Germany online catalog: http://www.nymphenburg.com/en/products/editions/down-to-earth Spirit and Form: Michele Oka Doner and the Natural World, Frederik Meijer Gardens & Sculpture Park, Grand Rapids, Michigan (catalog) 2008 HumanNature (Bronze, Clay, Porcelain, Works on Paper), Marlborough Gallery (Chelsea), New York, New York (catalog) 2004 Four Decades, Four Media, Marlborough Gallery, New York, New York 2003 Michele Oka Doner: New Sculpture, Marlborough Gallery (Chelsea), New York, New York (catalog) Fleeting Moments, MIA Gallery, Miami, Florida (catalog) Palmacae, Christofle, Paris, France 2001 ELP Studio, Rome, Italy 2000 Paper/Papers, Willoughby Sharp Gallery, New York, New York A Fuoco, Studio Stefania Miscetti, Rome, Italy 1998 Ceremonial Silver, Primavera Gallery, New York, New York (catalog) 1991 Michele Oka Doner Sculpture.
    [Show full text]
  • The Identification and Conservation of the Interior Architectural Plastics at Dragon Rock (Vol
    University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 1997 The Identification and Conservation of the Interior Architectural Plastics at Dragon Rock (Vol. 1) Christeen Yoriko Taniguchi University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Taniguchi, Christeen Yoriko, "The Identification and Conservation of the Interior Architectural Plastics at Dragon Rock (Vol. 1)" (1997). Theses (Historic Preservation). 494. https://repository.upenn.edu/hp_theses/494 This thesis has been divided into 2 volumes. Volume 2 can be found at http://repository.upenn.edu/hp_theses/ 540/. Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Taniguchi, Christeen Yoriko (1997). The Identification and Conservation of the Interior Architectural Plastics at Dragon Rock (Vol. 1). (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/494 For more information, please contact [email protected]. The Identification and Conservation of the Interior Architectural Plastics at Dragon Rock (Vol. 1) Disciplines Historic Preservation and Conservation Comments This thesis has been divided into 2 volumes. Volume 2 can be found at http://repository.upenn.edu/ hp_theses/540/. Copyright note: Penn School of Design permits
    [Show full text]
  • Living with Nature at Russel Wright’S Retro Now 9 GREAT PRODUCTS Suburbia Gets a Good Name
    Living with Nature at Russel Wright’s RetRo Now 9 GREAT PRODUCTS Suburbia Gets a Good Name A SwiSS ArChiteCt Mixes it up! Child of the Sun F.L. Wright’s Florida Campus Courtesy Manitoga/The Russel Wright Design Center. Courtesy Manitoga/The Russel Wright “I believe with religious intensity that good design is for everyone.” Above Russel Wright working on a pottery line in his New York studio, c. 1946. Right Wright’s home blends seamlessly into his Hudson Valley property, Manitoga, once deci- mated by logging, copper mining and granite quarries. In early summer, Tiger Lilies cascade down the craggy stone wall, once part of a quarry that Wright dammed to form an enticing pond visible from throughout the home and studio. 36 www.modernismmagazine.com Living with Nature at Russel Wright’s By Jim Winnerman Photography by Tara Wing Perhaps the most astonishing — and most unknown — creation and architects started applying modern design concepts not of American designer Russel Wright is his home and studio in only to buildings, but to everyday objects like appliances and the Hudson River Valley. Wright’s revolutionary innovations for furniture. This approach developed into the occupation of the modern American way of life — most notably his American industrial designer, and Wright, who had worked as a set Modern dinnerware — made him a household name from designer and sculptor, quickly became a leader in design for the late 1930s through the early 1960s. Today, however, he is mass-market production. In the United States, this movement virtually unknown to anyone under the age of 60.
    [Show full text]
  • Pioneers of American Industrial Design Additional Information
    PIONEERS OF AMERICAN INDUSTRIAL DESIGN ADDITIONAL INFORMATION Background The Pioneers of American Industrial Design stamp pane honors 12 of the nation’s most important and influential industrial designers. Encompassing everything from furniture and electric kitchen appliances to corporate office buildings and passenger trains, the work of these designers helped shape the look of everyday life in the 20th century. Each stamp features the name of a designer and a photograph of an object created by the designer, as well as a description of the object and the year or years when the object was created. The selvage features a photograph of the “Airflow” fan designed by Robert Heller around 1937. Industrial design is the study and creation of products whose appearance, function and construction have been optimized for human use. It emerged as a profession in the U.S. in the 1920s but really took hold during the Depression. Faced with decreasing sales, manufacturers turned to industrial designers to give their products a modern look that would appeal to consumers. Characterized by horizontal lines and rounded, wind-resistant shapes, the new, streamlined looks differed completely from the decorative extravagance of the 1920s. They evoked a sense of speed and efficiency and projected the image of progress and affluence the public desired. Consumer interest in modern design continued to increase after World War II, when machines allowed corporations to mass produce vacuums, hair dryers, toasters and other consumer goods at low cost. Industrial designers helped lower costs further by exploiting inexpensive new materials like plastic, vinyl, chrome, aluminum and plywood, which responded well to advances in manufacturing such as the use of molds and stamping.
    [Show full text]
  • The Ceramic Sculptures of Carl Walters (1883-1955)
    THE CERAMIC SCULPTURES OF CARL WALTERS (1883-1955) by MICHEAL A. KARCZEWSKI (Under the Direction of Janice Simon) ABSTRACT The ceramic animal and figural sculptures of Carl Walters are re-examined and new interpretations are offered for some of his works. Walters’s art is seen to be a continuation and transformation of the nineteenth century European animalier tradition into the twentieth century realm of American sculpture. His later works are a satirical reaction to both contemporary artists of his time and the development of Abstract Expressionism in American art. The influence of Edith Halpert and her Downtown Gallery in New York City is discussed as a major venue which helped to promote and place Walters’s sculptures into important museum and private collections. INDEX WORDS: Carl Walters; Ceramics; American Sculpture; 20 th century Art; Animalier THE CERAMIC SCULPTURES OF CARL WALTERS (1883-1955) by MICHEAL A. KARCZEWSKI B.A., Wayne State University, 2002 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2008 © 2008 Micheal A. Karczewski All Rights Reserved THE CERAMIC SCULPTURES OF CARL WALTERS (1883-1955) by MICHEAL A. KARCZEWSKI Major Professor: Janice Simon Committee: Asen Kirin Stefaan van Liefferinge Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia August 2008 This thesis is dedicated to Dr. Andrew Ladis, whose enthusiasm for this project was a constant source of inspiration, and to my parents, for their constant love, support and encouragement. iv ACKNOWLEDGEMENTS Many people have helped me during this project, and I am grateful to them all.
    [Show full text]
  • From ˝Cleanlining˛ to Accountability
    MIT Press Open Architecture and Urban Studies • American Design Ethic From “Cleanlining” to Accountability Arthur J. Pulos Published on: Apr 22, 2021 License: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC-BY-NC-ND 4.0) MIT Press Open Architecture and Urban Studies • American Design Ethic From “Cleanlining” to Accountability We see that we are not building big or little gadgets—we are building an environment. And we designers have to work also with the scientists, engineers, technologists, sociologists and economists who have part in this reconstruction. Can we get enough of this new world strongly and fairly built in time? Walter Dorwin Teague, 1940 [95] The public’s interest in design was stimulated in the mid-1930s when the government authorized a Federal Art Project to establish an Index of American Design. The idea was proposed by Ruth Reeves, a textile designer and painter, to the New York Public Library and then carried to Washington for endorsement. With the noted American historian Constance Rourke as national editor and Ruth Reeves as the first national coordinator, the project ran from late 1935 until the United States entered World War II, covering some 35 states and employing an average of 300 artists at a time. It produced over 17,000 carefully detailed illustrations of American decorative and industrial arts as well as vernacular products dating from the earliest days of the colonies until the end of the nineteenth century. Although the project’s immediate purpose was to provide employment for commercial artists during the Depression, its end value was to record and thereby honor the indigenous arts and industries of the Americans.
    [Show full text]