Annual Report 2016 American Craft Council 1
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An Artists' Resume
DANTE MARIONI Selected Museum Collections The White House Collection of American Crafts, Washington, DC Tacoma Art Museum, Tacoma, WA Seattle Art Museum, Seattle, WA Corning Museum of Glass, Corning, NY Los Angeles County Museum of Art, Los Angeles, CA The Museum of Art and Design, New York, NY Smithsonian American Art Museum Renwick Gallery, Washington, DC Carnegie Museum of Art, Pittsburgh, PA Birmingham Museum of Art, Birmingham, AL Chrysler Museum of Art, Norfolk, VA Cincinnati Art Museum, Cincinnati, OH Columbia Museum of Art, Columbia, SC The Museum of Fine Arts, Houston, TX Hunter Museum of American Art, Chattanooga, TN Racine Art Museum, Racine, WI Vero Beach Museum of Art, Vero Beach, FL Huntsville Museum of Art, Huntsville, AL Mint Museum of Craft and Design, Charlotte, NC Mobile Museum of Art, Mobile, AL Suffolk Center for Cultural Arts, Suffolk VA New Orleans Museum of Art, New Orleans, LA Philadelphia Museum of Art, Philadelphia, PA Whatcom Museum, Bellingham, WA Washington State University’s Museum of Art, Pullman, WA University of Miami’s Lowe Art Museum, Miami, FL Western Washington University, Bellingham, WA University of Missouri’s Museum of Art and Archaeology, Columbia, MO Stanford University’s Iris & Gerald Cantor Center for Visual Arts, Stanford, CA Arizona State University’s Art Museum, Tempe, AZ Montreal Museum of Fine Arts, Quebec, Canada Victoria and Albert Museum, London, England Scottish National Gallery, Edinburgh, Scotland Ebeltoft Glass Museum, Ebeltoft, Denmark National Museum if Fine Arts, Stockholm, Sweden -
American Craft Week Rary Art
skilled and visionary artists. This year’s juror is Mark Leach, the Executive Director of The Southeastern Center for Contempo- American Craft Week rary Art. continued from Page 18 32 Flavors Boutique, 9525 Birkdale Cross- rary in pottery, glass, jewelry, metal, wood County craft artists, who will give tours ing Drive, Suite 102, Huntersville, NC and other media. and demonstrations at their studios. Studios (http://www.32flavorsboutique.com/) include weaving, pottery, and metalwork In celebration of American Craft Week, 32 Gingko Tree Gallery, 128 Broadway to provide a broad range of understanding Flavors Boutique will be hosting “Craftapa- Street, Black Mountain, NC (http://www. and activity. For directions and information, looza!” Saturday, Oct. 13, from 11am-4pm. artistwithcamera.com/) contact (wingedgriffinstudios@hotmail. We will have 20 area artists on the green The Gingko Tree Gallery is a photo gallery com). in front of the shop exhibiting and selling Work by Ben Owen III and custom frame shop showing the works their artwork and we will be hosting various of Joye Ardyn Durham. We have been Hand in Hand Gallery, 2720 Greenville crafting demonstrations and classes on the Ben Owen Pottery, 2199 S Pottery Hwy. serving the Swannanoa Valley and Western Hwy., Flat Rock, NC (http://www.handin- green throughout the day. Live music, kids 705, Seagrove, NC (http://www.benowen- North Carolina for more than 18 years. Our handgallery.com/) craft activities & more! pottery.com/) participation in AWC is one of celebration Hand in Hand Gallery-our 16th year offer- Ben Owen III is a potter from Seagrove. His of the American Craft. -
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 -
CRAFT in Americamemory: Fragments
CRAFT IN AMERICAmemory: fragments Preview A fragment is, by definition, a small piece of some larger whole. In this section of Educator Guide: Memory, teachers will help students develop an understanding of how selected craft artists work with the notion of fragments and then guide them through a variety of inquiry-based explorations. By working with the notion of fragments themselves, students will deepen their knowledge and understanding and gain greater insight into this important aspect of craft in America. Featured Artists Tom Joyce (blacksmithing/Memory) Jan Yager (jewelry/Landscape) Related Artists Mississippi Cultural Crossroads (quilting/Community) Kit Carson (jewelry and sculpture/Landscape) 1 contents fragments Introduction 5 Tom Joyce 6 Jan Yager 7 The Craft Connection 8 Craft in Action 9 Craft in the Classroom 10 Make 11 Worksheets 12 Additional Web Resources 36 Credits & Copyright 37 2 education guide information Craft in America, Inc. Craft In America Inc. is a non-profit organization dedicated to the exploration of craft in the United States and its impact on our nation’s cultural heritage. The centerpiece of the company’s efforts is the production of a nationally broadcast television documentary series celebrating American craft and the artists who bring it to life. The project currently includes a three-part television documentary series supported by CRAFT IN AMERICA: Expanding Traditions, a nationally touring exhibition of exceptional craft objects, as well as a companion book, and a comprehensive Web site. Carol Sauvion is the founder and director of Craft in America. Craft in America Mission Statement The mission of Craft in America is to document and advance original handcrafted work through programs in all media made accessible to all Americans. -
Deliberate Entanglements: the Impact of a Visionary Exhibition Emily Zaiden
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2014 Deliberate Entanglements: The mpI act of a Visionary Exhibition Emily Zaiden [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons, and the Art Practice Commons Zaiden, Emily, "Deliberate Entanglements: The mpI act of a Visionary Exhibition" (2014). Textile Society of America Symposium Proceedings. 887. http://digitalcommons.unl.edu/tsaconf/887 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. Deliberate Entanglements: The Impact of a Visionary Exhibition Emily Zaiden Figure 1. Deliberate Entanglements exhibition announcement designed by Timothy Andersen, UCLA Art Galleries, 1971. Courtesy Craft in America Center Archives. In the trajectory of fiber art history, the 1971 UCLA Art Galleries exhibition, Deliberate Entanglements, was exceptional in that it had an active and direct influence on the artistic movement. It has been cited in numerous sources, by participating artists, and by others who simply visited and attended as having had a lasting impact on their careers. In this day and age, it is rare for exhibitions at institutions to play such a powerful role and have a lasting impact. The exhibition was curated by UCLA art professor and fiber program head, Bernard Kester. From his post at UCLA, Kester fostered fiber as a medium for contemporary art. -
Smithsonian American Art Museum
Smithsonian American Art Museum Chronological List of Past Exhibitions and Installations on View at the Smithsonian American Art Museum and its Renwick Gallery 1958-2016 ■ = EXHIBITION CATALOGUE OR CHECKLIST PUBLISHED R = RENWICK GALLERY INSTALLATION/EXHIBITION May 1921 xx1 American Portraits (WWI) ■ 2/23/58 - 3/16/58 x1 Paul Manship 7/24/64 - 8/13/64 1 Fourth All-Army Art Exhibition 7/25/64 - 8/13/64 2 Potomac Appalachian Trail Club 8/22/64 - 9/10/64 3 Sixth Biennial Creative Crafts Exhibition 9/20/64 - 10/8/64 4 Ancient Rock Paintings and Exhibitions 9/20/64 - 10/8/64 5 Capital Area Art Exhibition - Landscape Club 10/17/64 - 11/5/64 6 71st Annual Exhibition Society of Washington Artists 10/17/64 - 11/5/64 7 Wildlife Paintings of Basil Ede 11/14/64 - 12/3/64 8 Watercolors by “Pop” Hart 11/14/64 - 12/13/64 9 One Hundred Books from Finland 12/5/64 - 1/5/65 10 Vases from the Etruscan Cemetery at Cerveteri 12/13/64 - 1/3/65 11 27th Annual, American Art League 1/9/64 - 1/28/65 12 Operation Palette II - The Navy Today 2/9/65 - 2/22/65 13 Swedish Folk Art 2/28/65 - 3/21/65 14 The Dead Sea Scrolls of Japan 3/8/65 - 4/5/65 15 Danish Abstract Art 4/28/65 - 5/16/65 16 Medieval Frescoes from Yugoslavia ■ 5/28/65 - 7/5/65 17 Stuart Davis Memorial Exhibition 6/5/65 - 7/5/65 18 “Draw, Cut, Scratch, Etch -- Print!” 6/5/65 - 6/27/65 19 Mother and Child in Modern Art ■ 7/19/65 - 9/19/65 20 George Catlin’s Indian Gallery 7/24/65 - 8/15/65 21 Treasures from the Plantin-Moretus Museum Page 1 of 28 9/4/65 - 9/25/65 22 American Prints of the Sixties 9/11/65 - 1/17/65 23 The Preservation of Abu Simbel 10/14/65 - 11/14/65 24 Romanian (?) Tapestries ■ 12/2/65 - 1/9/66 25 Roots of Abstract Art in America 1910 - 1930 ■ 1/27/66 - 3/6/66 26 U.S. -
At Long Last Love Press Release
At Long Last Love: Fiber Sculpture Gets Its Due October 2014 It looks as if 2014 will be the year that contemporary fiber art finally gets the recognition and respect it deserves. For us, it kicked off at the Whitney Biennial in May which gave pride of place to Sheila Hicks’ massive cascade, Pillar of Inquiry/Supple Column. Last month saw the opening of the influential Thread Lines, at The Drawing Center in New York featuring work by 16 artists who sew, stitch and weave. Now at the Institute of Contemporary Art in Boston, the development of ab- straction and dimensionality in fiber art from the mid-twentieth centu- ry through to the present is examined in Fiber: Sculpture 1960–present from October 1st through January 4, 2015. The exhibition features 50 works by 34 artists, who crisscross generations, nationalities, processes and aesthetics. It is accompanied by an attractive companion volume, Fiber: Sculpture 1960-present available at browngrotta.com. There are some standout works in the exhibition — we were thrilled Fiber: Sculpture 1960 — present opening photo by Tom Grotta to see Naomi Kobayashi’s Ito wa Ito (1980) and Elsi Giauque’s Spatial Element (1989), on loan from European museums, in person after ad- miring them in photographs. Anne Wilson’s Blonde is exceptional and Ritzi Jacobi and Françoise Grossen are represented by strong works, too, White Exotica (1978, created with Peter Jacobi) and Inchworm, respectively. Fiber: Sculpture 1960–present aims to create a sculp- tural dialogue, an art dialogue — not one about craft, ICA Mannion Family Senior Curator Jenelle Porter explained in an opening-night conversation with Glenn Adamson, Director, Museum of Arts and Design. -
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. -
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. -
AEAH 4840 TOPICS, CRAFT 4840. Topics in the History of Crafts. 3
Instructor: Professor Way Term: Spring 2017 Office: Art Building 212 Class time: Monday 5:00-7:50pm Office Hours: please schedule in advance through email Meeting Place: Art 226 Monday, 4:00-5:00, Tuesday 4:00-5:00, Thursday 4:00-5:00 Email: [email protected] – best way to reach me AEAH 4840 TOPICS, CRAFT 4840. Topics in the History of Crafts. 3 hours. Selected topics in the history of crafts. Prerequisite(s): ART 1200 or 1301, 2350 and 2360, or consent of instructor. TOPIC – CRITICAL HISTORIES OF CRAFT AND ART HISTORY This course explores how history of art survey texts represent and tell us about craft—what do they have to say about craft, and how do they say it? We are equally interested in where and how these art history survey texts neglect craft. What is missing when histories of art do not include craft? Additionally, we want to think about history of craft texts. Should they include the same agents and situations we find in histories of art, such as famous makers and collectors, the rich and the royal, politics at the highest level, and economics, power, and desire? Also, is it possible to trace influence in craft as we expect to find it discussed in histories of art? What would influence explain about craft? Should a history of craft include features we don’t expect to find in histories of art? Overall, what scholarship and methods make a history of craft? These types of questions ask us to notice standards and expectations shaping knowledge in academic fields, such as art history and the history of craft. -
Potamkin Blackmore Bolton Dweck Press
MUSEUM OF ARTS AND DESIGN ANNOUNCES NEW TRUSTEES AND TREASURER Andi Potamkin Blackmore and Simon Bolton Elected New Trustees Michael Dweck Named Treasurer NEW YORK, NY (January 13, 2017) – The Museum of Arts and Design (MAD) announced today the appointment of two new Trustees: Andi Potamkin Blackmore and Simon Bolton. The Board of Trustees also named current Finance Committee Chair Michael Dweck Treasurer. The election took place at the December 8, 2016, board meeting. “The Board is thrilled to welcome new Trustees Andi Potamkin Blackmore and Simon Bolton, both of whom have made MAD a philanthropic priority,” said Michele Cohen, Chair of the Board. “Their demonstrated commitment to the fields of art and design and their audiences will support the Museum’s mission and visibility efforts.” In Dweck’s expanded role as Treasurer, “his financial expertise, leadership skills, and strategic acumen will serve him well in guiding the Museum in the next phase of its growth,” said Cohen. “We look forward to working with all three in their new roles.” Andi Potamkin Blackmore was elected Trustee in December 2016. A passionate champion of the arts, Potamkin Blackmore is the founder of Le Mise, a Brooklyn-based art and design advisory firm, as well as Three Squares Studio, a hair salon and art gallery in Manhattan, where she currently serves as Creative Director. She also works for the Potamkin Automotive Group, founded by her grandfather, Victor Potamkin, in 1954. Previously, she was the Potamkin in Kasher|Potamkin, a gallery and boutique in Chelsea. Potamkin Blackmore writes about art, design, well- being, and philosophy for publications including L’Oeil de la Photographie and 1stdibs and publishers including Glitterati Incorporated. -
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.