Decorative Arts Society Volume 18, Volume Number 2 newsletter fall2010 DAS Newsletter

Volume 18 Editor Gerald W.R. Ward Number 2 Katharine Lane Weems Senior Curator Fall 2010 of American Decorative Arts and Sculpture The DAS Museum of Fine Arts, Boston The DAS Newsletter is a publication of Boston, MA the Decorative Arts Society, Inc. The pur- pose of the DAS Newsletter is to serve as a The Decorative Arts Society, Inc., is a not- forum for communication about research, Coordinator exhibitions, publications, conferences and Ruth E. Thaler-Carter in 1990 for the encouragement of interest other activities pertinent to the serious Freelance Writer/Editor in,for-profit the appreciation New York of,corporation and the exchange founded of study of international and American deco- Rochester, NY information about the decorative arts. To rative arts. Listings are selected from press pursue its purposes, the Society sponsors releases and notices posted or received Advisory Board meetings, programs, seminars, and a news- from institutions, and from notices submit- Michael Conforti letter on the decorative arts. Its supporters ted by individuals. We reserve the right to Director include museum curators, academics, col- reject material and to edit materials for Sterling and Francine Clark Art Institute lectors and dealers. length or clarity. Williamstown, MA The DAS Newsletter welcomes submis- Officers sions, preferably in digital format, submit- Wendy Kaplan President ted by e-mail in Plain Text or as Word Department Head and Curator, David L. Barquist attachments, or on a CD and accompanied Decorative Arts H. Richard Dietrich, Jr., Curator by a paper copy. Images should be pro- Los Angeles County Museum of Art of American Decorative Arts vided at high quality (400 dpi), preferably Los Angeles, CA as TIFFs or JPEGs, with detailed captions, Museum Art Philadelphia, PA either color or black-and-white. We do not Cheryl Robertson cover commercial galleries. Independent Scholar, Curator The newsletter of the DAS is published and Museum Consultant Vice President two times a year at this time. Submission Cambridge, MA Diane C. Wright deadline (2010): January 15 for spring American Decorative Arts issue; June 15 for fall issue. Please send Charles Venable Yale University Art Gallery material to: Director & CEO New Haven, CT Ruth E. Thaler-Carter, Speed Art Museum DAS Newsletter Coordinator Louisville, KY Vice President 2500 East Avenue, #7K Elizabeth “Libby” Johnston De Rosa Rochester, NY 14610 Gillian Wilson Cooper-Hewitt, National Design Museum [email protected] Curator of Decorative Arts Master’s program in the History of the 585-248-8484, phone J. Paul Getty Museum Decorative Arts and Design 585-248-3638, fax Los Angeles, CA New York, NY

Ghenete Zelleke Treasurer Associate Curator, European Stewart G. Rosenblum, Esq. Decorative Arts New York, NY Art Institute of Chicago Chicago, IL Secretary Lindsy Riepma Parrott Director/Curator Neustadt Collection of Tiffany Long Island City, NY

Please send change-of-address information by e-mail to DAS Secretary Lindsy Riepma Parrott, Secretary@ DecArtsSociety.org.

Cover image: Newsletter design by Plum Crane. Épergne with Flower Stand, handblown All content ©2010 Decorative Arts Society. applied and tooled glass with metal mounts, ca. 1890. See Exhibitions, Chrysler Museum, Virginia. From the DAS president DAS trips stand out from the rest he trips organized by the Deco- tional trip to North and South Carolina, rative Arts Society (DAS) are a following a route between Richard H. Tprime example of what distin- Generette’s three wonderful homes: guishes our organization—camara- Ayr Mount, Millwood Plantation and derie among participants with shared the Roper House interests, access to important collec- also stopped at other sites, including tions and generous attention from our the Mint Museums. Along, Columbia the way (SC) we Museum of Art, Middleton Place and months, the DAS organized two very Drayton Hall colleagues in the field. In the past few As Kathy Luhrs describes in this Our thanks. A go more to Judith detailed Hernst account- issuespecial of trips. the newsletter, our August visit edt,will appearStewart in Rosenblum a future issue. and Libby to Washington, DC, included a remark- DeRosa for their hard work in plan- able day at the United States Capitol, ning and organizing these trips, which where we had access to rooms and came off without any glitches (with beautiful weather as a bonus in both More recently, we had an excep- David Barquist, DAS President. spaces not accessible to the public. instances). DAS loses major supporter ntrepreneur, innovator, philan- president of the Philadelphia Drug thropist, patron of the arts Rob- Exchange and the Philadelphia branch Eert L. McNeil Jr., 94, of Wynd- of the American Pharmaceutical moor, PA, and a founder of the modern Association; and a member of the pharmaceutical industry, who died of Pennsylvania Drug, Device and Cos- heart failure in May, was a major sup-

McNeil began his career when he Medalmetic Board. as part In of 2005, Heritage he received Day at the the - porterjoined, ofpart-time the DAS. in 1936 and full-time American Institute of Chemists Gold in 1938, the family pharmacy business Once McNeil retired, he began “a beJoanna made McNeil to the Lewis;Center and for American11 grand Art founded by his grandfather, Robert wholeChemical new Heritage adventure,” Foundation. according to his atchildren. the Philadelphia Donations Museum in his memory of Art ormay son, Rory McNeil, devoting time to the to the Community Partnership School, McNeil, and his brother, Henry, he expandedMcNeil. With and his developed father, Robert the business Lincoln A supporter and collector of American - arts and various philanthropies. 1936 N. Judson Street, Philadelphia, PA - commissioner of the National Por- 19121. headedinto McNeil the developmentLaboratories, of now the a Butisol John traitfine and Gallery decorative, member arts, of he the served White as a In this issue familyson & Johnsonof drugs subsidiary. and led the He team spear that House Preservation Committee and created Tylenol, including conceiv- trustee of the Philadelphia Museum DAS news 1, 2 ing of the name Acetaminophen, the of Art Center of American Art at the museum through From the DAS president 1 was named chairman of the board and . He championed theKathleen A. Acquisitions 4 generic term for the drug. In 1956, he Foster endowing the chair of Dr. The McNeil family accepted a Curator of American Art and direc- Events 5 senior officer. , the Robert L. McNeil, Jr. Senior Barra Foundation, which published Publications 6 purchase offer for McNeil Laboratories- 39tor books,of the center.many in He the also preservation founded the from Johnson & Johnson in 1959. People 7 McNeil remained with the J&J subsid McNeil is survived by his wife, theiary pharmaceutical as chairman until industry, 1964. serving andNancy; the sons, arts. Collin Farquhar McNeil News 11 as a McNeildirector was of the a major American influence Pharma in - Exhibitions 15 ceutical Manufacturers Association; and Robert Lincoln McNeil III (Rory); daughters, Victoria McNeil Le Vine and Fall 2010 Newsletter of the Decorative Arts Society, Inc./1 DAS news DAS members enjoy sites in the national capital By Kathleen Luhrs, Freelance Art Editor hile special trips for Deco- rative Arts Society (DAS) Wmembers often involve access to areas not available to the gen- Cast-iron decorative stair eral public, the DAS trip to Washington, rail on staircase in Senate hall of the Capitol. for the expertise gained from the staff DC, in August 2010 was most notable The event began with a delight- membersful breakfast who at led the the Cosmos tours. Club on August 1, after which DAS member Jean Taylor Federico, who is head of the Cosmos Club’s art committee, outlined both the club’s and the build- ing’s history as she led us through the various public rooms and pointed out the wonderful paintings, sculpture, Among all of this wide variety of mate- made of soft-paste porcelain of about prints and books available to members rial,paintings it was and fun decorative to see many arts members items. niture. A lovely blue-and-white flask, get excited by an early rubber-tiled extant pieces from the two Medici por- was founded in 1878 as a social club celain1574–1620, factories is one established of no more by thatFran 70- forand men their involved guests. Thein science, Cosmos literature Club cesco de’ Medici floor in the serving room off the dining There is still controversy regarding the Beaux-Arts house (once the Townsend room. Still in excellent condition, the in Florence in 1574. house)and art. designed The present by Carrére building, & aHastings, 1901 floorAt was the fabricated National Gallerywhen the of house Art was built in the early 1900s. - influence of Chinese and/or Turkish Across the street, Emily L. Schultz, nied by Gisele Larroque Obermeier, decoration on these works. wasdeputy acquired director in and1952. curator of the (NGA), we were met and accompa Society of the Cincinnati—Anderson After lunch and a break to see cur- House, assisted by Caren Pauley, led rentdevelopment exhibitions associate of our ownfor major choosing, gifts. us on a tour that began with an in- Mary L. Levkoff, curator of sculpture depth introduction to the lives of Larz and decorative arts, began a special Anderson III and his wife Isabel (he tour that explored the decorative arts

American Revolution and she an heir- mostly gifts that Joseph E. Widener was a descendant of an officer of the collections that are part of the NGA, now includes a major library and ar- - chivesess of Boston pertaining Brahmins). to the Society Their houseof the ilydonated a paintings in 1939. gallery, Widener had no Cincinnati, as well as historical objects intention Even thoughof breaking the NGA up his was family’s primar art relevant to its members and the An- collection and insisted that the deco- dersons’ own collections of paintings, rative arts objects be accepted along sculpture and decorative arts, much Chalice, sardonyx, 12th Century, French of which was acquired abroad when notable for some of the most important (cup Alexandrian 2nd/1st Century BC), of Anderson was ambassador to Belgium exampleswith the paintings. of European The decorative collection artsis Abbot Suger of Saint-Denis, 2nd/1st century BC (cup); mounting, 1137–40. Widener There also are paintings and sculp- Collection. NGA photo. tureand toby British, in theAmerican, early 20th French century. and inintroduce this country. us to the collection, which Spanish artists, along with glass, ce- includes Levkoff European chose a works few highlights of the 15th to ramics and metalwork in many periods and 16th centuries; Chinese porcelain, to a 12th-century chalice—a vessel largely from the Qing Dynasty; a small to holdLevkoff wine also for thedrew Mass—that our attention was group of important medieval church otherand styles, Asian including works, medieval many Japanese European vessels; and 18th-century French fur- of Abbot Suger, head of the Benedictine works acquired in Japan, as well as made about 1140 under the direction 2/ Fall 2010 Newsletter of the Decorative Arts Society, Inc. monastery at Saint-Denis in France Sheila Dwyer, assistant secretary has undergone a good deal of research from 1122–1151, who was noted for of the Senate; Melinda Smith, and restoration in recent years and is associate curator; Kelly Steele, historic and fostered the creation of beautiful Deborah We also visited the Old Supreme his interest in Gothic architecture Wood, collections manager, discussed Courttruly outstanding. Chamber is composed of a 2nd–1st century preservationthe historic desks, officer; benches, and various north wing, where more than half of sardonyxobjects for cup religious from Alexandria uses. The chalicethat is accoutrements and restorations, which (1810–’60) in the encased in a silver-gilt setting with are very much an ongoing pursuit in Carlo Franzoni, buststhe furniture of the earliest is original. chief It justices includes and a the foot is a medallion in which Christ the entire building is a credit to people largethe relief Simon of Justice Willard by gold filigree, glass insets and jewels. On whoa room seem with to constant be able to traffic. wrestle Indeed, with We then met with Farar Elliott, great restrictions on time and money House curator and chief, wall who clock. discussed is shown between the Greek letters of venues to be seen in the Exhibition alphaAlso and of omega great int(referenceerest was to the “I am Hall and some of the recent gifts that “Mazarinthe beginning Tapestry,” and the which end”). Widener to handle its upkeep. have brought objects from the past - erlands in the 16th century, it is one of displays in the Exhibition Hall, where purchased in 1916. Made in the Neth manyback to documents this space. and We artifactsthen viewed from the the Not on view to the general pub- thelic at finest the moment, examples but from available this period. for must be said that the Capitol deserves DAS tour members to examine, was aCapitol trip in are itself, on andtemporary a day can exhibition. hardly do It a group of 18th-century neoclassical by cabinetmakers such as Jean-Henri it justice. Riesener,writing desks Jean-Francois in the collection. Leleu Made and David Roentgen, these pieces are be- Decorative wall painting in Brumidi Corridor.

Day 2 (August 2) found us as- Rob Lukens, exhibits and educa- ingsembled studied in theand new conserved. Visitors Center tion director of the Capitol Visitors of the Capitol, ready for an intense Center, joined us in the center for tour that touched upon many aspects Barbara Wolanin, curator for the architect of the Capitol, hard to give this tour justice—we saw tooklunch. us Afterward, through the Brumidi Cor- of decorative arts in the building. It is ridors with their wonderful frescos “Turkish Style” upholstered chairs, red Architectural historian William C. leather, in President’s Room. Minton tiles Allenan amazing began amount in the Rotunda, in a short with period. an and fauna; medallion portraits of the on floor. overview of the building’s history and, depicting American bird species, flora- of course, Constantino Brumidi’s dence and Revolutionary leaders; and Congratulations and thanks to depictionssigners of the of historical Declaration events of Indepen and Judith Hernstadt and Stewart Rosen- blum for organizing the DAS visits to great “Apotheosis of Washington.” carried out by a team of assistants these venues, jam-packed with items inventions. All of these works were of interest to those involved with the More Brumidi-designed murals, theseunder in the the Italian Pompei artist’s- direction. decorative arts. ian style, are promi- nent in the Senate Appropriations Room, where the

Senator’s desk in U.S. Senate Chambers. original colorful Mintonfloors still tiles have (as their do Senate curator Diane Skvaria many of the Senate- brought us through to the Senate wing and into the Senate Chamber; although are covered by a red the body was in session, we squeezed wing floors), but of the little Senate desks date to 1819, Photoscarpet. by Aileen This Minorroom andin while are stillthe inchamber use in thiswas chamber, empty. Some except chalice and at right. DAS tour participants at Anderson House. which opened in 1859. Fall 2010 Newsletter of the Decorative Arts Society, Inc./3 Acquisitions

Memorial Art Gallery Ceramics are highly prized in Federal-style tables attributed to John (Rochester, NY) has acquired a silver and Thomas Seymour, and made • The Paul The purchase was made possible - Revere as a bequest of Virginia Jeffrey byKorean the legacy culture. of past benefactors, dale desk and bookcase attributed to Smithcream pot, ca. 1757–67) by notably Fowler McCormick (Princeton Thomasbetween 1790Affleck and and 1810; made a Chippenaround Alec class of 1921), heir to the fortune built 1765 in Philadelphia; a Neoclassical Hazlett; a in bronze memory Jain of deity his parents, from India, by Cyrus McCormick - Federal carved mahogany couch, McCreaca. 1500, and a gift Doris from Hazlett; ceramicist and two of attributed to Duncan Phyfe and made National Gallery and Internation of Art by Batiste Madalena al(Washington, Harvester. DC) has been promised Chippendale tea table of mahogany at- the 1,400-plus movie posters designed the George• The M. and Linda H. Kaufman tributedbetween to1805–20 John Townsend in New York; and and John a (1902–88) in Goddard and made around 1755–65 in UoR1920 faculty for the for then-new many years, Eastman including Theatre. McCrea Hazlett was on the collection of American furniture. The Additions to the permanent openinggift is the in first 1941, extensive when Joseph gift in the Wid - Newport,The gallery RI. Plans presented are for anan exhibitionexhibi- collectionsseveral as provost. include several pieces of enerdecorative donated arts his to familythe NGA collection, since its and tionof the of items the Kaufmans’ in two years. furniture in 1967 Southwestern pottery, loaned by Alan substantially increases the gallery’s and Nancy Cameros - - blackware vase by Autumn Borts- rently has 515 decorative arts objects and 1987. Medlock, great-great-granddaughter, including a 2005 decorative arts holdings. The NGA cur George Kaufman, a banker, inves of Sara Fina Tafoya of Santa Clara The collection features pieces tor and founder of Guest Quarters, died- in its collections. - in 2001. Linda H. Kaufman has served Art sent William and Mary, Queen Anne, on several of the NGA’s leadership com Pueblo.Museum createdChippendale from 1690–1830 that repre mittees. a 12th-century• The celadon ewer adorned By, the gift may change its place in with an unusual (Princeton, underglaze, NJ) has carvedacquired the decorative, andarts Neoclassicalcommunity in styles. the and incised design, and lotus-petal Resources The donation includes a nest of future. Applications are open for the decoration. Museum of Glass (Tacoma, WA) Visiting Artist Residency Program www.DecArtsSociety.org 2011 day residencies to experienced artists interestedguidelines. in The the program opportunity offers to five- work

December 15, 2010 in theThe museum’s program Hot is open Shop. to Deadline: artists . -

Selectedwho have artists at least will five work years’ in theexperi mu- seum’sence working Hot Shop in the in front medium of a oflive glass. audi -

days of cold working services, and the ence. The residency also includes two The value of the week-long residency is opportunity to deliver a public lecture. Applying involves submitting a $25,000.completed questionnaire, current résumé, artist statement, images of the artist’s work and full description of the work the artist plans to create dur-

ing the residency. For an application and instructions, go to: http://www. museumofglass.org/live-glassmaking/ visiting-artists/residency-application/. 4/ Fall 2010 Newsletter of the Decorative Arts Society, Inc. Events Contemporary British Ceramics Symposium Mint Museum UPTOWN Charlotte, NC http://mintmuseum.org March 10, 2011 Scholars, art critics and artists discuss trends and developments in symposium is organized in conjunc- tioncontemporary with the exhibition British ceramics. Contemporary The Horton focuses on early American styles and techniques popular British Studio Ceramics: The Grainer white bedcovers and examines the Collection associations with that led to on the Anglo-American tradition— the portrayal of emerging from fromearly 1600examples to 1800, of piecing, focusing appliqué, primarily . A panel discussion follows whole cloth quilting, and a variety of Nationalthe visual Quilting presentation. Day International Study Center necessity on the colonial frontier. Her Berenson traces “French” and and Museum Rowan1979 thesis, County, “Influences North Carolina,” on German was “Marseille”corded and quiltingembroidered in the techniques. western Lincoln, NE oneand ofScotch-Irish the earliest Quilts studies in Antebellumof regional world through a review of surviv- www.quiltstudy.org variations in American quiltmaking ing pieces and historical documents, March 19, 2011 including archival records, inventories, Activities feature free museum Mary Black’s Family Quilts: Memory and letters, royal edicts and shipping depo- admission, quilting demonstrations Meaningtraditions. in Her Everyday publications Life include and lectures, Lincoln Quilters Guild served as editor of Uncoverings from needlework in the context of historic Outreach Projects, machine quilting (2005). She eventssitions. that She affectedexamines 18th-century all-white corded demos, refreshments, museum exhibi- Fash- European commerce, such as the East tion tours, and information on how to 1987–93ion’s Favourite: and 2008–present. The Cotton Trade and - the ConsumerLemire’s booksin Britain include tated Marseilles atelier production in (1991); Dress, Culture and Commerce: Indian trade; the plague that devas Quiltedcare for quilts.and Corded Needlework: the English Clothing Trade, 1660–1800 before the and availability of appropriate materi- A Closer Look —2011 Interna- Factory (1997); and The Business of als1720; during state the conflicts, Prohibitions rivalries in Britainand war; tional Quilt Study Center & Everyday Life: Gender, Practice and Museum (IQSC) Symposium Social Politics in England, c. 1600–1900 explores the development International Quilt Study Center Giorgio Riello, “East andof quilt France. culture in the west through and Museum and West: and Fashion in Early Lemire Lincoln, NE Modern(2005); and,Europe” with in the Journal of Social illustrates how domestic comforts pro- www.quiltstudy.org History Cotton, her book liferatedhigh politics during and the popular 18th century,fashions. when She April 1, 2011 with Berg Publishers in the series Tex- people acquired a wider variety of new This year’s quilting symposium tiles that 41/4 Changed (2008). the World, will be furnishings; increasingly, the require- includes presentations by Linda ments of both politeness and sensibil- Baumgarten, curator of textiles and ity demanded these material comple- costumes at the Colonial Williams- published in April 2011, with a chapter ments to ease and embellish everyday burg Foundation (Williamsburg, VA); onthe the practice history of offashion quilts inand European cotton. Kathryn Berenson, guest curator social Lemire communities is currently and investigatinghas an interest quilts, curtains and carpets became of the exhibition Marseille: White in the impact of global trade on new panoplieslife. Cushions, of household tablecloths, accoutrements pillowcases, Corded Quilting and author of Quilts of that decorated homes, whether a room Provence and the forthcoming Mar- Berenson’s most recent mono- in a lodging house, an apartment or a seille: The Cradle of White Corded Quilt- fashiongraph, “Marseille: forms between The Cradle 1600 andof White 1820. ing; Laurel Horton, independent quilt Corded Quilting,” complements the ex- Drawing inspiration from the researcher and award-winning author; middle-classMarseille: White dwelling. Corded Quilting and Beverly Lemire, professor of His- Her research on French history exhibition tory and Henry Marshall Tory Chair in hashibition been of published Marseille through quilts at museums the ISQC. symposium explores the tradition of the Department of History & Classics , the center’s fifth biennial and Department of Human Ecology at Quilts were among the small in Italy,Baumgarten the United discusses Kingdom, the France array of quilted andContinued corded on needlework. next page and United States. the University of Alberta. Fall 2010 Newsletter of the Decorative Arts Society, Inc./5 Publications

Breaking Ground: A Century of lishing) is exclusively about L. C. mosaic and glass terms, chronology of Craft Art in Western New York (Memo- Tiffany’s glass mosaic works, which events in Tiffany’s life relating to his rial •Art Gallery, University of Roches- mosaic work, and complete listing of ter, Rochester, NY), edited by Barbara Tiffany Studios for clients across the Lovenheim, Suzanne Ramjlak and were created from 1880–1931 at the - Salt-glazed Stoneware in Early Paul J. Smith, examines arts and crafts Americathe locations, by Janine of his mosaicE. Skerry pieces. and continent. More than 700 color photo Suzanne • Findlen Hood of Colonial School for Ameri- graphs showcase the works. Many of - Williamsburg, chronicles the tradi- pioneerscan Craftsmen in the early 1900s through thelations images in private are published mansions, for public the first tions of stoneware imported from thesuch influence as Stickley of the and Steuben, as well time, highlighting more than 70 instal before World War II, Decorated interiors, mausoleums Features include original inter- buildingsand domestic and roomschurches. are shown with TheEngland book and draws Germany, on archeological and the work and of asviews 20 current with Wendell artists. Castle (wood), an explanation of Tiffany’s technique documentaryAmerican potters sources in the and 18th features century. (metal), Michael Tay- of mosaic-making and the glass he cre- objects from Colonial Williamsburg’s lor (glass) and (clay), - holdings, along with items from public

The Mosaics of Louis Comfort ated and used in them. New informa photos illustrate the range of early Tiffanyamong others.by Edith Crouch (Schiffer Pub- tion Theidentifies book includesthe mosaic a glossary artists who of and private collections. More than 300 • worked with him. American stoneware. and changed to suit commercial Events, continued interests, fashions, needlework tradi- luxuries that spread through elite and

establishedtions and tastes a tradition for import. of making ports,plebeian democratizing households. thisSeagoing commodity trade embellished, By 1800, white,American whole-cloth, women had cotton inwith crucial India ways, carried the quilts most toimportant European of bedcovers using a variety of needle- - tic alternatives to imported bedcovers, which were calico quilts. By the early thesework techniques.quilts and counterpanes Developed as embod domes- mirrored1700s, quilts the hadevolution become of globala staple trade ied values associated with Republican domestic form. This common comfort Marseilles ateliers produced Petassoun (Infant lap piece), cotton, 19 - and the growth of new domestic arts. thousands of furnishings and garments × 19 in., late-18th to mid-19th century, tonwomanhood, examines reflectinghow the transfer both female of these worked in white broderie de Marseille Mediterranean coast, France. Square central associationsvirtue and homespun to patchwork patriotism. quilts in Hor the or corded quilting for domestic use motif, filled with a grid of lozenges suggesting early 19th century led to the portrayal and maritime export from the late 17th a pomegranate and portending an abundant of quilts emerging from necessity on future for the infant. Berenson Collection.

century. Provençal models were copied the colonial frontier. 6/ Fall 2010 Newsletter of the Decorative Arts Society, Inc. People Positions of (Canberra, Australia) • Martina Droth has been vice president for American Decorative appointed as head of Research of the Artsof the at Huguenots. Sotheby’s auctionHe has been house senior (New the National Gallery of Ireland (Dub- Yale Center for British Art and the York, NY), appeared on the “Antique (1997–2004) and assistant director of Roadshow” television show, and served Kennedy promoted a global art graduate of the Camberwell School of as editor-at-large of The Magazine lin, Ireland) (1989–97). Artscenter’s first curator of Sculpture.Goldsmiths A Antiques and as a trustee with various College - organizations that study the decorative purchase,focus at Dartmouth. including collectionsHe is credited of (London, England), Nativewith significant American acquisitions and Australian by gift or research (London, coordinator England) at the andHenry Uni Apthorp Mooreversity ofInstitute Reading (PhD). Droth was House:arts. 1790–1960; Thomas Jefferson and a new series of public contempo- Redivivus:Garrett The is theFederal author Style of & Beyond raryAboriginal art projects art and featuring Indonesian artists textiles; from in the History of Art (Leeds, at the England) University (1992); Victorian America: Classical Ro- diverse ethnic and cultural back- since 2002, as well as a visiting lecturer manticism to Gilded Opulence (1993); Colonial America (1995); and Monti- Kennedy received his bachelor’s, of Leeds. cello and the Legacy of Thomas Jefferson grounds.master’s and doctorate degrees from University College, Dublin, where he Laura M. Giles - received highest honors for his studies (1995).ian Renaissance and Baroque draw- • , a scholar of Ital Heather and Paul G. Haaga Jr., Class facultyin the history appointment of art and as an history. adjunct He pro is - ings, has been appointed as the first- fessora prolific in theauthor Art Historyand editor. department He holds ata ings at the Princeton University Art ofMuseum 1970, Curator of Prints and Draw prints and drawings at the museum Dartmouth. . She has been curator of Paul Haaga serves on numerous A specialist in 19th-century British boards,since December including 2000. the Huntington sculpture and material culture, Droth’s Library, Art Collections and Botani- recent projects include the exhibition cal Gardens and catalog Taking Shape: Finding a practicing artist with a focus on en Sculpture in the Decorative Arts plein air . Heather Sturt Haaga is (2009–2010), a collaboration with - the J. Paul Getty Museum, Temple nized exhibitions painting. at the museum that Newsam and Henry Moore Institute. demonstrateAt Princeton, the breadth Giles has and orga depth of Droth is co-editor of the forth- the collections as well as the scope of coming volume Revival and Invention: Sculpture and its Material Histories Art Sebastian Clerbois, and Instituteher interests. of Chicago She has been research - sistantcurator professor of Italian ofdrawings Art History, at the Spen - Frampton’s(2010), with Peter Pan,” in The Ed- cer Museum of Art at (Chicago, the University IL); as of Kennedy is a member of the wardiantwo forthcoming Sense: Art articles: and Experience “George in Kansas; and curatorial assistant in the Association of Art Museum Britain, 1901–1910 and “Sculpture and departments of prints and drawings Directors, American Association of at the Fogg Art Museum at Harvard Rethinking the Interior, Museums and International Associa- tion of Art Critics; was chair of the 1867–1896:Aesthetic Intent Aestheticism in the Late and Victorian Arts and in History from , Irish Association of Art Historians CraftsInterior,” in master’sUniversity. degree She earned in Art Historya BA degree from (1996–97) and Council of Australian book provisionally titled Sculpture and and doctorate in Fine the Cult. She of Domesticity:is currently atThe work Creation on a Art Museum Directors and received a Centenary of Federation of a Domestic Aesthetic in Late 19th- • Brian P. Kennedy is now the medal for Service to Australian (2001–03); Society Century Britain. ninthArts from director Harvard of the University. Toledo Art and its Art from the Australian Federal • Wendell Garrett has joined Museum the board of trustees of Huguenot of the Hood Museum of Art at Dart- Heritage (Toledo, OH). He was director - Government in 2003. works to preserve the cultural heritage tor and historian Ronald T. Labaco has as director of the National Gallery • Decorative arts and design cura , a nonprofit organization that mouth College since 2005. He served Fall 2010 Newsletter of the Decorative Arts Society, Inc./7 been appointed to the senior curato- pursue her own artmaking and provide rial team as the Marcia Docter Curator Under her leadership, the Frick has up- at the Museum of Arts and Design 2003, will retire in the fall of next year. overseeconsulting its servicesartistic and to the administrative museum. curator of Decorative Arts and Design Keyworth joined the Fuller in 2003 to cleaneddated its and Living installed Hall, improved new lighting its East in at(MAD; the High New MuseumYork, NY). He served as the Wyona Lynch- theGallery Boucher for the Room, first timecreated since the 1945, build - areas.McWhite She, wasbut continuedreplaced as to executive serve as as an independent curator (Atlanta, and GA)assis - directorchief curator in 2009 and by develop shows until tantsince curator 2007, and of Decorative previously Arts worked at the Avenueing’s first portico; new gallery and moved space andin more loaned Los Angeles County Museum of Art Steven H. Miller, executive direc- artthan and 30 objectsyears by to enclosing enhance itsthe collec Fifth- hertor emeritusretirement. of the Morris Museum • Post oversaw what the New York (LACMA; Los Angeles, CA). to the Huguenot Heritage board of tions.Times calls an “ambitious” exhibi- (Morristown, NJ), also has been elected tion program and was responsible the Bennington Museum (Benning- ton,trustees. VT) and He hasWestern served Reserve as director His of- Joseph torical Society (OH) and was senior Chinardfor significant and “The acquisitions, Dance of includingTime: curator of the Museum of the City of Threean 1809 Nymphs terra-cotta Supporting bust by a Clock by New York or on committees of Historic Deer- by Clodion field (MA),(NY). ArtPride He serves New Jerseyas a trustee, the Lepautre,” which has a terra-cotta base Century Association and the American Director’s Circle. She increasedof major donors the number and is Association of Museums creditedof board withmembers bringing by 10, more introduced than $55 a At the High Museum, he helped to Christoph Neinrich, deputy develop and strengthen the museum’s director of the Denver Art. Museum • million to the museum. design, which he partially documented the museum’s new director, replacing years Poulet of experience was the first in the female arts, includdirector- incollection the exhibition of 20th- Under and 21st-century Construction: Lewis(Denver, I. SharpCO) since January 2009, is in the history of the Frick. She had -30 Building a Contemporary Design Melissa G. Post, curator for the tive arts and sculpture department Collection for the High Museum of Glass, who (Tacoma, has retired. WA), has ating the 20 Museum years of running of Fine theArts, decora Boston also co-curated The Allure of the announced• her plans to step down Automobile: Driving in (2010).Style, 1930- He Jean-Antoine Houdon (1741–1828): 1965 Recent Acquisitions integral role in helping the museum Sculpture(Boston, MA). of the She Enlightenment was curator of at the in Contemporary American Craft achievefrom the its position. recent accreditationShe played an by the National Gallery of Art (Washington, (2010),Anthony Ames, Architect: American Association of Museums Residential Landscapes A E. Carmen Ramos has been Graceful(2009–10), Industry: Bentwood Furni- assistant director of the Center for . appointedDC) in 2003. by the Smithsonian Ameri- ture Toshiko(2009), Takaezu: Craft,Before Creativity joining the and MOG, Design Post was (Hen - can •Art Museum (Washington, DC) as Master Ceramist dersonville, NC) and held curatorial (2008), and - positions at the Mint Museum of Craft be responsible for acquiring artworks ganized the exhibition (2007). Eva Zeisel: My + Design (Charlotte, NC), and Corning forits curatorthe museum’s for Latino permanent art. Ramos collection will CenturyIn 2006, Labaco independentlyBard Graduate or Museum of Glass and producing a major exhibition and Center at the International Art + De- sign Fair(2006) for the (Corning, NY). - catalog Ramos based is anon independent the museum’s cura Latino- seum retrospective(New York, on NY). Ettore At LACMA, Sottsass torholdings whose for most fall recent2013. projects were he produced the first major U.S.Ettore mu BLACKOUT: A Centennial Commis- Sottsass: Architect and Designer, and sion by Paul Henry Ramirez curated(2006), coauthoredthe exhibition the Peter catalog Shire: The New- Los Angeles Connection to Memphis ark Museum (2010),Cut, aBuild site-specific and Weld: exhibition Process at in the Works by Chakaia Booker (Newark, NJ) andVisual of(2006). the Decorative Arts, Design and Cul- Arts Center of New Jersey (Summit, ture Labacofrom the holds Bard an Graduate MA in the Center History (2010) at the and a BA degree in Studio Art from the of exhibitions for the Arts Council of PrincetonNJ). Previously, at the she Paul was Robeson the curator Cen - Gretchen Keyworth has retired ter for the Arts and assistant curator asUniversity director ofemeritus California, of the Berkeley. Fuller Mu- Anne L. Poulet, director of the for cultural engagement at the Newark seum • of Art Frick Collection (New York, NY) since - • Museum. She co-curated the fifth bien 8/ Fall 2010 (Brockton, MA). She will Newsletter of the Decorative Arts Society, Inc. nial at El Museo del Barrio (New York, of America: Pioneer Artists in a New Kukielski was a senior curatorial Land; Posada’s Mexico; and The Image assistant at the Whitney Museum of exhibitions about Mexican popular arts of America in Caricature and Cartoon American Art NY) in 2007 and also has organizedFranco Lena Vigna is the new curator of Mondini-Ruiz Freddy Exhibitions at the Racine Art Museum. published dozens since of essays2002, where in exhibi she- Rodríguez(2007) and works by artists • curated numerous exhibitions. She has Ramos earned (2007) a bachelor’s and degree the Miami University Art Museum Kukielski received her BA in art in art history (2005). and psychology from New (Racine, WI). She was previously with historytion catalog. from Boston University and is a York University (1988) and a master’s degree in art history from the Univer- (Miami,Julián FL) andZugazagoitia is interested is thein jewelry new directorand adornment. and CEO of the Nelson-Atkins doctoral student in art at the Graduate a doctoral candidate at the University Museum • of Art (Kansas City, MO), Center, City University of New York. ofsity Chicago of Chicago with (1995). a focus Sheon modern currently art is replacing Marc F. Wilson Awards - Smithsonian American Timothy Rodgers, previously tors will organize the 56th, who Carnegie retired. Art Museum (Washington, DC) new chiefin Latin curator America. of the New Mexico Mu- International• A three-person of the Carnegieteam of cura Mu- • The seum • of Art (Santa Fe, NM), is now seum of Art (Pittsburgh, PA), which year include: Elizabeth McGoey, director of the Scottsdale Museum of fellows for the 2010–2011 academic Contemporary Art (Scottsdale, AZ) curator Daniel Baumann and as- “Staging Modern Domesticity: Art and and vice president of the Scottsdale sociateis scheduled curators to open Dan inByers October and 2013:Tina predoctoral fellow, Indiana University, - Cultural Council Kukielski Emily Moore, predoc- - Constructedtoral fellow, UniversityInterior Displays of California, in Ameri tor of Architecture. and Design at the team of three. This people is the will first organize time in thethe ca, 1925–40”; • Joseph Ross, formerly chief cura International’s history that a curatorial Austin is the new director of the University of Baumann is based in Europe until Porter,Berkeley, Sara “Indian Roby Art Predoctoral of the New Fellow Deal, MichiganArt Institute Museum of Chicago of Art (Chicago, (Ann Arbor, IL), exhibition. Indians in New Deal Art”; and

Victoria Saltzman has moved Kukielskihe moves isto atPittsburgh, the museum PA, throughin 2012, theto in 20th-CenturyThe program American grants awards Realism, for fromMI). Winterthur to the Clark Insti- remain at the museum through 2013. - scholarsBoston University. and students to pursue re- tute • of Art search at the museum, including senior, Ron Tyler has announced run ofBaumann the exhibition. has organized Byers is more a perma than predoctoral and postdoctoral fellow- his retirement (Williamstown, as director of MA). the nent member of the museum staff. - Amon• Dr. Carter Museum of American Museum Art board of trustees effective April 60 exhibitions in museums and galler ofships. Glass - ies throughout the world. After earning Art Auction• Award are: winners Preston in the Singletary , arly work, including completing three Switzerland,his degree in inart 1996, history he andbecame German the (Tacoma, WA) Red Hot Juried books1, 2011. that He he plans began to resumebefore he schol accepted curatorliterature of atthe the Adolf University Wölfli ofFoundation Geneva, week-long Hot Shop residency); Ethan at the Museum of Fine Arts (Bern, SternBest of Show ($10,000 cash prize and a Switzerland), a position he currently a week in the Hot Shop); and John Ki- Tylerthe directorship served as curator in 2006. and assistant Shift ley , Best Emerging Artist ($5,000 and In his first tenure at the museum, Festival for Digital Arts, established in holds. He isNew also Jerseyy co-founder, an exhibitionof the , People’s Choice ($2,500Melissa and G. Post a week, Universitydirector for of collections Texas at Austin, and programs. where he space in Basel, and curator of Nordtan- in the Hot Shop), all of Seattle,Tina WA. Old- In 1986, he left to join the faculty of the gente-Kunsttangente2007, and , a Basel-based nowJurors included Corning Tyler received his PhD from Texas Museum of of Glass Glass curator; (Corning, NY); and was professor of history for 20 years. Byers has been associate curator Andrew, curator, Page Modern, editor-in-chief, Glass, Urban of the Texas State Historical Asso- ofproject contemporary for art in publicart at thespaces. Carnegie Glass Quarterly ciationChristian University. He was director Museum of Art - the Best of Show and Best Emerging on numerous boards, including the Fo- Artist awards, and. The guests jurors at presented the mu- Conference (1986–2005) of Southwest and Foundations, has served rum 65: Jones, Koester, since 2009 Nashashibi/ and is cura seum’s inaugural Red Hot event (see Eastern National and Summerlee Foun- torSkaer: of the Reanimation Forum Gallery exhibition, - News) voted on the People’s Choice rial fellow at the Walker Art Center accessions committees for the Blanton . He was curato Artdation. Museum He sat (Austin,on both TX)the planningand is an and he was assistant to the directors at Award. A one-week residency in the elected member of the American Anti- the(Minneapolis, Fabric Workshop MN). From and 2003–2006, Museum ofHot Excellence Shop is worth of the $25,000. American Crafts quarian Society Council • Recipients (ACC) in of Baltimore, this year’s MD, Awards cho- from Bard College’s Center for Curato- sen by Jane Milosch, curator for Con- than two dozen books, and Texas including Institute Alfred of (Philadelphia,rial Studies and PA). BS He in receivedstudio art his from MA temporary Crats and Decorative Arts, JacobLetters. Miller: He is Artist editor as and Explorer author; of more Smithsonian American Art Museum

Skidmore College. Fall 2010 Newsletter of the Decorative Arts Society, Inc./9 (Washington, DC) and Josephine Shea, vo, Corcoran College of Art & Design, (Kansas City, MO) from 1977–82 and curator, Edsel & Eleanor Ford House Smithsonian Institution (Washington, had a 55-year interest in Native Ameri- Natalie Blake DC), master’s thesis research on how can art that resulted in curating major (Brattleboro, VT), ceramics; Gretchen Alfred Knobler and Pilgrim Glass exhibitions, as well as writings and Romey-Tanzer(Detroit, MI), are: (Orleans, MA), decora- bridged crafts, commerce and culture Dan Mirer (Corning, NY) , with glass, keeping the studio tradi- tribes and assembled a collection of glass; Linda Kindler Priest (Corcord, tion alive in a factory setting; Gloria donations. He lived with several Indian MA),tive fiber; jewelry; Reiko Ishiyama (New Dunlap, Corcoran, master’s thesis on pieces from prehistoric times, along York, NY), jewelry; and Holly Torn- - withmore ceremonial than 1,000 andobjects utilitarian that included items heim tor (Lee Norness) and its impact on such as kachina dolls, blankets, war Mark Karelson, director, Mason thestudio OBJECTS: craft; Julia USA Hoodexhibition,, Corcoran, its cura how bonnets, baskets, masks, pipes, ceramic Murer (Nevada Fine Art City, Gallery CA), wood. postmodern ideas such as historicism and ornamentation affected studio fur- Coe earned a BA from Oberlin to: Paveen Beer Chunhaswasdiku(Atlanta, GA) Collegejars, weapons and a master’sand beaded from garments. Yale, both selected the ACC’s 2010 AtlantaSonya awardsYong four pieces of such works; and Mary James James and Ronanniture in, Corcoran, the late 1970s–1980s the Boston Society through Victoria(Gadsden, Mullan AL), ceramics; of Decorative Art (187–1922) as a resignedin art history. from He the began museum his careerto concen at - (Atlanta), fiber; and center for art needlework and its place the then-Nelson Gallery of Art, but - John Iverson(Pompano has received Beach, the FL), in female crafts professionalism and search resulted in two exhibitions that Herbertmixed media. Hofmann Prize for contem- weretrate onconsidered his collecting landmarks: activities. Sacred His re porary • jewelry for his silver bracelet, Circles: 2,000 Years of North Ameri- “Cutting Free,” at the International Reviewphilanthropy. Panel consisted of Bernard can Art, which opened at the Hayward Handwerksmesser - L. HermanThe 2010 Craft Research Fund - Gallery Jia guished Professor of American Stud- traveled to the Nelson-Atkins in 1977, Maljojoki of Finland (Munich, and David Ger Bied- ies and Folklore,, George University B. Tindall of DistinNorth and Lost (London, and Found England) Traditions: in 1976 and landermany). He shared the award with Carolina (UNC)-Chapel Hill; Leisa Native American Art, 1965–1985, Rundquist, associate professor of Art which went from the American Mu- of Switzerland. History, UNC-Asheville; Jenni Sorkin, seum of Natural History to nine other research • Recipients grants from of $56,720 the Center in 2010 for critic and recent PhD in the History of Craft,project Creativity grants and and $80,160 Design in (Hengraduate- Art Department, Yale University (New Metro- Haven, CT); and Lena Vigna, curator politanmuseums Museum beginning of Artin 1986. (New York, - of Exhibitions, Racine Art Museum NY) Afeatured 2003 exhibition a promised at thegift of almost ville,dersonville, are: NC), in affiliation with the UniversityWendy of Kaplan North Carolina, Los Angeles at Green • Betty and George Woodman Robert Hart, a crafts marketing County Museum of Art, for research have(Racine, received WI). the National Artist expert200 works with from a special Coe’s interest collection. in the on the role and nature of craft in Award at the annual Recognition work • of Native American artisans, died California, 1945–65 and biographical Dinner of the Anderson Ranch Arts information on the craftspeople in the Center (Snowmass, CO); she is a the Southern Highlanders, Inc. from exhibition for a handbook and website; ceramacist and he is a painter and pho- 1946–52in January and at 88. head He of was the manager Indian Arts of Jennifer Way, University of North Tex- Garth Clark and Mark Del and Crafts Board as, the State Department’s handicraft Vecchio, dealers, curators and writers production and export in Southeast intographer. ceramics, received the Service to the 1993, he was named of anthe Honorary U.S. Interior Fel - Asia, 1955–61; Tara Tappert, indepen- Arts Award; they recently teamed with low(Washington, of the American DC) from Crafts 1962–93. Council In Cowan’s Auctions to present semian- Philip Hoffman, the son of nual auctions of modern and contem- the founder of Hoffman California . century;dent researcher, Nancy Odegaard, how the U.S. Arizona military Fabrics • , a popular batik brand among Stateembraced Museum arts and, an illustratedcrafts in the reference 20th vocabulary of handcrafted domestic porary ceramic art. involved in research and development and decorative objects; Namita Wig- Obituaries ofquilters, textile hasmanufacturing died at age 80.processes, He was gers, Museum of Contemporary Craft Nancy Cameros of Rochester, artwork and design creation, and mer- with the Pacific Northwest College NY, who amassed a collection of Native of Art, mid-century craft artists and American • pottery with her husband Mortimer D. Sackler, one of the Alan (see Acquisitions), died in Sep- chandising.most prominent benefactors of the the national movement; Susie Silvert, Guggenheim • Museum and Metropol- Bardconnecting Graduate Pacific Center Northwest (New craftsYork, to Ralph T. “Ted” Coe, an advocate itan Museum of Art (New York, NY) NY), a master’s thesis on the role of tember.for Native American art, former art the Heller Gallery (New York, NY) in museum• director and private collector, major donor to the Tate Gallery - creating and maintaining a market for don,died England),at 93 in March Louvre 2010. (Paris, He was France) also a studio glass since 1973; Monika Schia- of the Nelson-Atkins Museum of Art (Lon has died at 81. He served as director

10/ Fall 2010 Newsletter of the Decorative Arts Society, Inc. News

The Bard Graduate Center: Americas are presented together for Decorative Arts, Design History, Material • Culture (New York, NY) has - received a $152,761 grant from the the first time since the museum’s National Endowment for the Humani- founding in 1870, including decora ties (NEH) to initiate a four-week NEH tive arts, textiles, fashions and jewelry. Items on view in the galleries include college teachers to study “American include500 new the acquisitions collection (manyof Maya on ceram view- MaterialSummer Culture:Institute 19th-Century in July 2011 for New icsfor inthe and first Pre-Columbian time). Objects and on display Andean gold work; pottery from the Puebloan century artifactual materials, with peoples of Arizona and New Mexico; anYork.” emphasis The institute on New will York focus City on as 19th- a Paul Revere’s historic silver “Sons of national center for fashioning cultural commodities and promoting consumer window by Louis Comfort Tiffany, Liberty Bowl” (1768); a stained-glass study of material culture into wider usetastes. for Theteaching intention and researchis to bring in the the showcased“Parakeets andwith Gold two FishJohn Bowl” LaFarge (about stained-glass1893), on view windows; for the first a folk time art and Museum of Fine Arts, Pictorial quilt (1895–98) sewn by humanities.Boston (MFA; Boston, MA) has opened former slave (see its new• The wing for the Art of the Ameri- inside cover); a wall of weathervanes; cas, planned and designed by architects and rooms from the Roswell Gleason House worksFoster from+ Partners the museum’s (London). American The wing new wing, (Dorchester, MFA Publications MA). produced collections,allows for displaying more than more double than the 5,000 num - In conjunctionA New with World opening Imagined: the Art of the Americas with support from The new wing incorporates a mod- the Vance350-page Wall Foundation and Andrew ber previously on view. “Parakeets and Gold Fish Bowl,” stained glass window, Louis Comfort Tiffany (ca. 1893), at Museum of Fine Arts Boston. buildingernist esthetic project, into which the museum’sbroke ground 1909 ChryslerW. Mellon Museum Publications Glass Fund. Studio of Beaux Arts building. The $345-million- the Chrysler• Construction Museum has ofbegun Art (Noron - increases the building’s total square folk, VA), expected to open in the fall forin 2005, new constructionwas supported and by renovations, a fundrais footage The by 121,307-square-f 28 percent, fromoot 483,447 wing to endowmenting campaign of that programs raised $504and positions, million million includes an endowment for Works representing all of the of 2011. ContinuedThe project on budget next page of $7.5 616,937 square feet. and annual operations.

Medical College, and four universities Chicago museum’s collection, renovat- People, continued ing all departments, building a new and Jewish Museum - Sackler and his brother were best- wing and launching plans for another knownin England, for the Scotland Sackler and wing Canada. of the Met, addition, as well as helping to conceive Sackler Center(Berlin, for Ger Arts exhibitions that broke attendance Educationmany), among other institutions. He James N. Wood, director of the afinanced major contributor the to the American havingSt. Louis financed Art Museum its construction. Museum of at Natural the Guggenheim History and was for six• years and director of the Art andrecords. museum He was administration the first head and of the Sackler was a psychiatrist and Institute of Chicago (St. Louis, MO) helpedGetty trust lead with its J. a Paul background Getty Museum in art co-owner of the Purdue Pharma as well.phar - 25 years before becoming president maceutical company who did seminal and CEO of the Getty (Chicago,Trust IL) for - research in the biology of psychiatric (LosWood Angeles, earned CA) throughhis undergraduate a difficult worked at the Metropolitan (Los Museum Ange degreeperiod. in history from Williams Col- established research and training insti- ofles, Art CA) (New in 2006, York, has NY) died and at Albright- 69. He also lege and a master’s degree from the tutesillness in in developmental the 1940s and psychobiology ‘50s, and Knox Art Gallery Institute of Fine Arts of New York at Columbia University, Weill Cornell Wood oversaw expanding the (Buffalo, NY). University. Fall 2010 Newsletter of the Decorative Arts Society, Inc./11 - lence for the exhibition Lord Love You: WorksRouge, byLA, R.A. including Miller an from Award the ofMullis Excel Collection and a number of museum publications, some related to the exhi-

The exhibition draws from the privatebition. collection of folk-art enthusiast Carl Mullis and featured 83 paintings, drawings, sculptures and whirligigs

Reuben Aaron “R.A.” Miller cover,created full-color by self-taught catalog Georgia edited artistby Hill - ary Brown and Mary Koon received. A hard-

a Gold from SEMC in the Books and - Catalogs category. GMOA also received awards for the “Lord Love You” public itsity newlycampaign. expanded facility with a The new Mint Museum Uptown site in downtown Charlotte, NC. The GMOA is scheduled to reopen operating expenses, two new full-time (Rochester, NY) library has received San Francisco Museum of ribbon-cuttingModern Art (San ceremony Francisco, in January. CA) and The studio evolved from Art of on medieval stained glass in Europe Frick• TheCollection (New York, NY) both Glassjobs and 2 several part-time jobs. froma donation Helen of Zakin more, athan retired 400 artbooks his- are celebrating 75th anniversaries this that featured the Chrysler Museum, tory professor at the State University Virginia, a Arts glass Festival exhibition and in Contempo 2009 - ’s rary Art Center of Virginia as major stained glass throughout her career agent,year. Thea Burger, has been sorting andof New worked York-Oswego. on the Corpus Zakin Vitreatumstudied works • Ceramicist left behind when Duckworth Medii Aevi, a project aimed at cata- partners,The facility with 21 features regional furnaces, affiliates loging the medieval stained glass of throughout Hampton Roads. died in October 2009 and the building table; an artist-in-residency program; Smithsonian Institution’s housing her Chicago, IL, studio was - freeannealing glassmaking ovens and demonstrations; a flameworking and Cooper-Hewitt,western Europe. National Design sideringsold. She requests has given for to donationsDuckworth’s from classes and workshops for students Museum• The (New York, NY) presented relatives in Great Britain and is con- and adults, with educational programs People’s Design Award to the ware tower with a horseshoe-shaped for beginners to master classes for ac- Braille Alphabet Bracelet at its 11th crowninstitutions. at the A Museum tan-and-green of Art stoneand annualits fifth National Design Awards gala Design (MAD; New York, NY) is among Mint Museum Uptown Leslie Ligon, the donated pieces expected to remain complished(Charlotte, NC) professional has opened artists. in Char- designer of At First Sight Braille lotte’s• The business district as part of the inJewelry October in New York. J. Paul Getty Museum Levine Center for the Arts mother of a blind son, created the line onAngeles, permanent CA) has display. reopened its suite of by Machado and Silvetti Associates of functional, accepted Braille the jewelry award. to Ligon, increase the • The (Los . Designed The galleries take the visitor from facility houses the Mint Museum of International Quilt Study sculpture and decorative arts galleries.- Craft(Boston, + Design MA), the, as 145,000-square-foot well as American Centerawareness & Museum of Braille literacy. sicism and Romanticism, culminating and contemporary art and select works has received• The funding from a donor who Neoclassicism through Late Neoclas prefers to remain anonymous (IQSC; Lincoln, for a NE) pieces include a nine-foot bronze vase A private tour of the newly expand- part-time collections assistant to pho- bywith the Symbolism. French sculptor Recently Jean-Désiré acquired edfrom facility the European was a highlight art collection. of the recent tograph and process the Sara Dillow Ringel d’Illzach Decorative Arts Society (DAS) tour of Collection to make it available online The vase was shown at the 1889 the Carolinas; participants were among sooner that otherwise would have been Universal Exposition (1847–1916). in Paris, 1893 World’s Columbian Exhibition in Chi- The Mint Museum Randolph will reinstallthe first visitorsits galleries to the dedicated facility. to the possible. These and other quilts from art of the ancient Americas, decorative the collectionGeorgia may beMuseum seen in of the Art IQSC’s cagoThe and sculptor 1910 Universal never intended Exposition the in arts and historic costume, among oth- online Collections Database. Brussels. at the• TheSoutheastern Museums Confer- Universal Exposition, it was exhibited University of Rochester ence(GMOA) (SEMC) (Athens, annual GA) meeting won nine in awardsBaton forvase two to beyears functional. at the Musée After desthe 1889Arts ers. • The 12/ Fall 2010 Newsletter of the Decorative Arts Society, Inc. that doubles the space for major travel- the area of Wendy Reves’s particular ing exhibitions, a sculpture garden and 20th-century European decorative art, To house the collection, the DMA of the expansion were discussed in a personal interest. previousa landscaped issue parking of the DAS deck. Newsletter (Details 1985, designed by museum architect Rochester Institute of Edwardopened a Larrabee 16,500-square-foot Barnes, to wing re-create in Technology . ) unveiled • The its new Vignelli Center for Design Studies (RIT;, which Rochester, showcases NY) has a five roomsThe decorati from theve arts couple’s holdings home in - the south of France. ucts designs assembled by Massimo Chinese export porcelain; European and40-year Lella collection Vignelli of graphic and prod furniture;include more a rare than French 300 pieces cabinet- of on-stand attributed to Pierre . The Vignellis Gole; a collection of rare 17th- and18th-century frames from

- petsFrance, from Italy, Europe Spain, and England Central and Vase by Jean-Désiré Ringel d’Illzach, bronze, Germany; European fans; car nine feet tall. French. Design draws on bronze volute krater from Pompeii now at Asia; and more than 150 silver Vitelli chairs. Photo: A. Sue Weisler/RIT. Museo Archeologico Nazionale (Naples, Italy). Emery Reves was Hungarian by Body is elongated adaptation of “belly” of objects.birth and became a journalist, pub- envision the center, which focuses on krater; curled handles replicate arms of the lisher, advocate of world peace and col- theory, history and criticism of graphic ancient vessel. Photo: Rebecca Vera-Martinez, - © Getty Museum. Wendy Reves was from Texas and was alector model of inEuropean New York art. and He Paris died beforein 1981. design, as the first in a worldwide se Décoratifs becoming known as a hostess, collec- riesof Modernism, of design educational which forms centers. a bridge between The key the concepthistory ofis designa reflection and the in the Palais de l’Industrie, met in 1946 and, while Swiss citizens, however,which Ringel and d’Illzachthe artist hoped subsequently would tor and patron of the arts. The couple The Vignellis created the New York submittedacquire the the work. vase That to the did World’s not occur, Co - CityVignelli subway design signage; tradition. Handkerchief lumbian Exhibition and the Universal settled at VillaVirginia La Pausa Museum in 1954. of Fine She Chair and Paper Clip Table; Stendig cal- diedArts in(Richmond, 2007. VA) has reopened back to the Compagnie des Bronzes with• a The new limestone-and-glass wing Church (New York, NY); and packaging deExposition. Bruxelles Eventually,, presumably the becausevase went the programsendar; interior for Bloomingdale’s of St. Peter’s Lutheran and Saks sculptor was unable to pay the consid- An archive of the Vignellis’ design Brussels-based company dissolved in workFifth Avenue.serves as an international re- erable costs for its casting. When the the vase, after which it was sold to its - the 1970s, a private collector bought source.lery, which The features nearly 19,000-square-foot an exhibit, Design centeris One , alsocomposed houses of the pieces Benetton from Galthe previous owner in 2007. The vase came to the Getty on North Carolina Museum of Symbolistloan in early details—life-casts 2009, and the museum of spiders, VignelliArt (Raleigh, collection. NC) has reopened to the juniperacquired branches, it later that scraps year. of It lace features and • The still-undecipherable motifs—and Art housespublic after the museum’s a three-year collection, expansion. a new Dallas Museum of Art (Dal- Its new 127,000-square-foot building Nouveaulas, TX) marks ornamentation. the 25th anniversary of the Wendy• The and Emery Reves Collec- restaurantMuseum and retail of store. Glass Dozens (Tacoma, of tion newWA) acquisitionshas achieved are accreditation on display. from works from the private art collection the American• The Association of Museums of Emery in November—more Reves, including than decorative 1,400 (AAM), the highest national recogni- arts objects, donated by the Wendy & Emery Reves Foundation, Inc. The works transformed the museum’s New James W. and Frances G. McGlothlin currentlytion for a museum.accredited, Of including the nation’s 319 art collections of late 19th- and early Wing of VMFA. Photo: Bilyana Dimitrova. estimated 17,500 museums, 775 are

museums. Fall 2010 Newsletter of the Decorative Arts Society, Inc./13 Exhibitions

Arizona panied to Northern from the Norman L. Sandfield Collec- Echoes, Fire and Shadows tion Heard Museum Åsa Phoenix, AZ Europe.Sandlund, his future wife, who intro- was published in 2007 when the www.heard.org duced In himSweden, to modern Singletary Scandinavian met Aexhibition Turning opened.Point: Navajo Weaving Through February 6, 2011 in the Late 20th Century During this same period, Single- Heart Museum design.tary became interested in the artistry Phoenix, AZ www.heard.org Singletary met Anthony (Tony) Jojola, February 5–May 22, 2011 of his Tlingit heritage. In the 1980s, and David Svenson, a Northwest Coast this exhibition epitomize the gradual woodcarvera member of at the Pilchuck Isleta Pueblo Glass tribe, School change The in 30-plus Navajo Nav weavingajo weavings that took in (Stanwood, WA), Over the next decade, Singletary began as a traditional craft transformed to who influenced him. includeplace from name the artists 1970s exploring into the 1990s, new es - glassmaking technique and Tlingit de- to merge the influences of European The exhibition draws from the Santa Pilchuck, Singletary collaborated with Fethetics Collection and showing in urban galleries. Nootkasign into master a definitive carver style. Joe DavidIn 2000, at Seed pots featuring silver, gold and California. gemstones. Old Traditions in New Pots: . Borlandia: Cultural Topography by The interpretations of Tlingit Silver Seed Pots from the Norman Einar and Jamex de la Torre myths and legends take shape in these L. Sandfield Collection Craft and Folk Art Museum works of contemporary glass work by Heard Museum Los Angeles, CA Preston Singletary Phoenix, AZ Through January 9, 2011 from the Museum of Glass (Tacoma, www.heard.org www.cafam.org WA); the Heard Museum. The exhibit is its only comes Ongoing Brothers Einar and Jamex de la Norman L. Sandfield’s collecting Torre create large-scale glass sculp- Tlingit, combines traditional American passion can be seen in this exhibition tures informed by their cross-cultural stop in the Southwest. Singletary, a The signature piece of the exhibi- of work consists of both freestanding, Indian designs and glass. of more than 70 miniature silverHeard seed pedestalencounters. and This wall-mounted collaborative pieces body with cast-glass triptych that references Tlin- Museumpots, from a collection of nearly 300 blown-glass elements depicting Mayan, tion is “Clan House,” a 16-by-10-foot amassedthat Sandfield over 28donated years, to ranges the from Aztec and religious iconography, juxta- two bas relief carved house posts fram- traditional. The designs collection, recreated which in silverhe posed with historic icons and trinkets git architecture and art. It comprises to the Star Wars series created by L. Singletary uses a combination of Eugene Nelson The de la Torres were born in ingtechniques, an ornamented including screen. , commissioned works from jewelers from dollar stores around the world. sand carving and inlaying, to create , Navajo. Sandfield also respectively, studied at California State contemporary glass sculpture from - Guadalajara, Mexico, in 1963 and 1960 traditional forms such as amulets, bas- whoties relied normally on these do not small create pots containers. with tiny the (Stanwood, holesAmerican to store seedsIndian for tribal the followcommuni- University of Long Beach, and taught at Singletary was introduced to glass- collections of the Museum of Glass makingkets, crest at thehats, age masks of 15 and by hisrattles. friend seldom exceeded about two inches in (Tacoma,WA). Their WA), work Arizona can be Statefound Univerin the - diameter,ing growing were season. festooned The pots, with which carvings sity Art Museum, San Diego Museum pioneer of Contemporary Art, Kanazu , son of Studio Glass Artists began casting the every- Museum Fisher Gal- . He worked dayand potsdesigns. from silver, gold and stones lery Museum at USC, Tucson Museum Benjaminas a glassblower Moore at’s a glassblowing Seattle studio. team, instead of throwing them on a pottery of Art, and (Kanazu, Mexican Japan), Fine Art Center whereIn 1985, he he worked accepted in varying a position capacities on wheel, with whimsical rather than utili- Museum for the next 15 years and learned tra- A book by Tricia Loscher, Old (Chicago, IL) and in private Singletary and Dante Marioni accom- Traditionstarian design in New elements. Pots: Silver Seed Pots “Craftcollections. in America,” They were and featuredhave toured in the the ditional Venetian techniques. In 1993, award winning 2007 documentary

14/ Fall 2010 Newsletter of the Decorative Arts Society, Inc. world speaking about and demonstrat- high vase covered with life casts of spiders, juniper branches and scraps of carving, incising and cutting—all lace; Johannes Andreas Beo’s secré- techniquesmosaic, inflation, that are mold still blowing, used by glasscameo Newing glass-blowing. Galleries for Neoclassical, taire; and a bust of French socialite Romantic, and Symbolist Joseph Chinard Sculpture and Decorative Art The Invention of a New Classi- Pulpartists Fashion: today. The Art of Isabelle Getty Center/Getty Museum calJuliette Style, Récamier 1700–1830— by . de Borchgrave Los Angeles, CA the excavations• of ancient archaeologi- Legion of Honor www.getty.edu In the 1700s, San Francisco, CA Ongoing wish to break with the no-longer-fash- February 5–June 5, 2011 ionablecal sites stylesin Greece of Baroque and in Italy and Rococoand the Belgian artist Isabelle de Borch- sculpture led to a desire to create mod- grave recreates lifesize historical ern sculpture imbued with the charac- costumes from paper, working that

She is a painter by training who works theteristics use of of white ancient marble sculpture. and adaptation This new medium to achieve the effect of textiles. classical style in Europe is defined by Pulp Fashion: The Art of Isabelle Late Neoclassicism in European paperde Borchgrave to a desired is part effect. of the Collection Artof mythological and Design, subject 1780–1830 matter. Connections series and includes more wake • of the French Revolution in 1789, Napoleon Bonaparte’s adoption—In of the Neo - on themes in the history of costume, fromthan 60Renaissance trompe l’oeil costumes works drawingof the coined the Empire style, contributed to Medici family and gowns worn by theclassicism popularity as an of official Neoclassical imperial ideals style, in France and its imitation by European designs of couturiers Fredrick Worth, PaulElizabeth Poiret, I and Christian Marie-Antoinette Dior and Cocoto the that had dominated the decorative Chanel, with special attention to the artsrulers. were The replaced curvilinear by rectilinear silhouettes lines, creations and studio of Mariano For- tuny Romanticism to Symbolism, The exhibition has six sections: 1830–1900—incorporating ancientThe Romantic motifs. move- “The .Artist’s Studio,” recreated to pro- ment, • which emphasized the irrational vide insight into de Borchgrave’s cre- in man and the sublime in nature, had its roots in the literary, visual, and mu- devoid of color; “Papiers à la Mode,” featuringative process; iconic “In looks White,” from nine key dresses periods century, a group of French and Belgian in fashion history; “Fortuny,” a paper artistssical arts. developed Toward athe style end known of the as19th tent with recreations of Fortuny’s - famed pleated and draped gowns; and tual and mystical philosophies of the “The Medici,” featuring velvets, needle- Clock, oak veneered with satinwood; white Symbolism, which reflected the spiri work lace, ropes of pearls and coiffures marble; gilt bronze mounts, 8 ft. x 3 ft. 8 in. x 2 ft., by Johannes Andreas Beo, furniture worker; clock movements by Christian Moltenday. Color: Glassmaking in An exhibition catalog by Jill Mollinger, clockmaker. German, Berlin, ca. Antiquity transformedD’Alessandro into explores paper thesculpture. paper cos- 1798–99. Getty Museum/Getty Villa A suite of newly designed sculp- Los Angeles, CA Pulp Fashion: The Art of Isabelle ture and decorative arts galleries at the www.getty.edu detumes Borchgrave of the artist. Ongoing Wais with additional support from survey of European sculpture, decora- Elizabeth W. Vobach is sponsored by Lonna Getty Center takes visitors through a objects from the collection of Erwin catalog is supported in part by a grant The galleries progress chronologically Oppenländer More than are180 featured, ancient glass with works from Friends of Fiber. TheArt exhibitionInterna- tive arts and paintings, 1700–1900. made in Mesopotamia, Egypt, the tional from around 1700 to around 1900, that span the entire period of ancient . Colorado reflecting the development of styles - glassGreek production, world and thefrom Roman its origins Empire in What is Modern? posesassociated sculptures, with that paintings, span. The decorative new Denver Art Museum artschrono-thematic and prints from configuration similar periods juxta in Denver, CO Mesopotamia in about 2500 BC to www.denverartmuseum.org Recent acquisitions include Jean- aByzantine variety of and ancient Islamic glassmaking glass of the tech 11th- Through 2011 or longer contextualizedDésiré Ringel d’Illzachdisplays.’s nine-foot- niques,century such AD. Items as casting, include core examples forming, of What Is Modern? features fur-

Fall 2010 Newsletter of the Decorative Arts Society, Inc./15 niture, , and industrial and - ry samplers worked on linen and grad- the talents and aspirations of the girl, to the present day that offer a glimpse uallyfore age developed 10, they a began repertory with of elementa stitching her family,Each piece her instructressof needlewor andk unifies the intographic the designsvarying fromways thein which early 1800sdesign visual artists often called upon to paint executed canvaswork pieces, sam- in portrait heads that would complete plers,techniques. memorials During and their silk studies, pictures they as expresses theConnecticut modern experience. evidence of the skills and accomplish- A fully illustrated book with essays Connecticut Needlework: Women, ments that would demonstrate their andeach entries piece. by the Hubers; an essay by Art, and Family, 1740-1840 suitability as wives capable of manag- Susan Schoelwer, curator of George Connecticut Historical Society Washington’s Mount Vernon; and an and Museum Displayed as an enticement to potential introduction by Amy Kurtz Lansing Hartford, CT suitors,ing households these pictures and educating and memorials children. - www.chs.org Through March 26, 2011 principles of “politeness”—a concept will Thebe published exhibition in is 2011 sponsored in conjunc in part Early American needlework is an thataffirmed encompassed a young lady’s knowledge mastery of ofreli the- tion with Wesleyan University Press.- art form created almost exclusively by gious and literary themes as well as an necticut Humanities Council and Con- - necticutby the Coby Commission Foundation, on CultureLtd., Con and

women and girls. The exhibition show appreciation for art and music. casesDecorated more than clothing, 70 examples, bedding many and TheTourism. Upholstered Woman: accessories;never previously school exhibited. work by children Women’s Fashions of the 1870s as young as six years old; and needle- and 1880s—Part 2: Women’s work art depicting classical scenes, Fashions of 1880-1885 Wadsworth Atheneum Hartford, CT gallerybucolic displayslandscapes needlework and detailed dedicated flora www.wadsworthatheneum.org toand preserving fauna are familyall featured. history The and final high - Through March 20, 2011 lights the work of one family and an The prosperity of the middle and unusual young member of that family, upper classes in post-Civil War Amer- Prudence Punderson ica, along with technological develop- An illustrated catalog by Susan P. ments in machine-sewing, weaving, Schoelwer accompanies. the exhibition, lace-making and pattern-drafting, which is supported by generous grants Needlework picture “Jeptha’s Rash Vow,” created a fashion for embellished silk, 21 1/2 x 21 1/2 in. Unidentified artist, ca. 1810. Lydia Royse School. Hartford, CT. carved furniture of the late Victorian from the Coby Foundation, Ltd. and the Private collection. women’s garments. Like the tufted and WithNational Needle Endowment and Brush: for theSchoolgirl Arts. The exhibition illuminates the with contrasting fabrics and trimmed From the Connecti- evolution of needleworking techniques withera, dresses a myriad were of furbelows, closely fitted, including draped cut River Valley as well as tracing the distinctive styles fringe, ribbons and braid, lace, faux Florence Griswold Museum and subjects associated with the Old Lyme, CT mistresses of various girls’ schools As they made their social calls, the www.flogris.org throughout the Connecticut River wivesflowers, of andAmerican pearls. businessmen show- Through January 30, 2011 The Connecticut River Valley was Royse in Hartford, pupils specialized in Dubbed “conspicuous consumption” Valley. At the academy run by Lydia one of the most important centers in allegorical or historical subjects based bycased Thorstein their husbands’ Veblen in financial his 1899 success. book America for teaching and producing on print sources, which they replicated analyzing the late Victorian economy, embroidered pictures by girls and these displays played an important role young women in private academies Through their needlework, girls in silk thread. during the late 18th and early-19th from even small towns were intro- While the costume and textile gal- - duced to and participated in wider cul- inleries establishing are unavailable one’s social during position. building work experts Carol and Stephen Hu- - bercenturies., this exhibition Guest-curated of approximately by needle tens’ School, also in Hartford, worked of the Wadsworth Atheneum offers an tural currents. Girls at the Misses Pat heraldic and allegorical compositions, opportunityrenovations, tothe explore 1870s theseGoodwin and Parlor other and portraits draws extensively on themes of Victorian fashion, including works70 , from private watercolor collections, sketches many Schoolgirl needleworkers throughout the parallels between interior decorat- theoften Connecticut accented with River gold Valley—includ filaments. - Over the course of their education, ing those at Abby Wright’s school in Women’s girlsnever undertook before shown progressively publicly. more Massachusetts—drew inspiration from Fashionsing styles ofand 1885–90 costume, will design. be on dis- - Part III of this exhibition,

complex and difficult needlework. Be the examples produced in Boston. play in the fall of 2011. 16/ Fall 2010 Newsletter of the Decorative Arts Society, Inc. District of Columbia all periods of the Bronze Age, including important role in burial rites, since Chinamania: Whistler and the products from metropolitan foundries Victorian Craze for Blue- Three of the earliest disks on dis- and-White they are frequently found in tombs. Smithsonian Institution/ of the late Shang (ca. 1500–1050 BCE) inscriptions combining a standing bird Freer Gallery of Art and early Western Zhou (ca. 1050–900 play, from Liangzhu, exhibit pictorial Washington, DC examplesBCE) dynasties. that originally The new functioned installation as designs, precursors to Chinese writing, www.asia.si.edu containersfeatures some for 40food Shang and wineand early offered Zhou with signs for the sun and moon. Such Through August 7, 2011 to deceased ancestors in ritual ban- The disks are joined by a group Blue-and-white Chinese porcelain ofprobably ceremonial signify tools clan and ownership. weapons, as well as later luxuries that illustrate the - quets.Freer Decorative assembled motifs a collection are primarily of became a hot item in LondonJames in the ancientanimals, jades, both realwith and a focus imagined. on pieces McNeill1870s, a Whistlercraze the ,British an early press collector mock - enduring influence of craft and design ofingly Chinese dubbed porcelain, “Chinamania.” helped stimulate first Thedeveloped reinstallation during projectthe Neolithic is part of the fad by depicting such wares in his produced by the late Neolithic Liang- aperiod. larger constellation of China-focused ticatedzhu culture jades (ca. in the3300–2250 form of personal BCE). projects that will include several major The Chinamania exhibition ex- ornaments,The Liangzhu ceremonial people created axes, ritualsophis exhibitions in the Sackler in the coming paintings.plores Chinese porcelain in Whistler’s disks and tubes that were sometimes adorned with surface decoration and esthetic inspiration but soon prolifer- madeyears. possible with the support of the England, where it was first valued as The China Gallery project was works of art include blue-and-white inscriptions. porcelainated as a commodity. objects from The the 23 Peacock featured Thaw Charitable Trust, John and Julia Room; eight wash drawings of Kangxi Curtis, Jane and Leopold Swergold, Mr. porcelain that Whistler produced for Danziger,and Mrs. Hart the Sylvia Fessenden, and Alexander Mr. and Mrs. Has - a collector’s catalog; and paintings, Michael Feng, Peggy and Richard M. pastels and etchings inspired by the san Family Foundation Inc., and other Shipwrecked:supporters. Tang Treasures Returnartist’s interestof the Chinese in porcelain. Bronzes from the Java Sea and Jades Smithsonian Institution/ Smithsonian Institution/ Sackler Gallery of Art Freer Gallery of Art Washington, DC Washington, DC www.asia.si.edu www.asia.si.edu March 2012 November 20, 2010–open This exhibition showcases ninth- century gold, silver and ceramics jade and bronze have been reinstalled recovered from one of the most impor- in twoMore newly than renovated 100 works galleries of ancient after tant marine archaeological discoveries Tall ritual wine container, bronze, decorated with birds with curving wings and long tails, reinstallation of the galleries repre- heads of water buffalo, and occasional dragon more than a decade in storage. The on surface; weighs more than 50 pounds. Hyperbolicof the 20th century.Crochet Coral Reef plan to reimagine the Freer Gallery’s Early Western Zhou dynasty vessel, China, Smithsonian Institution sents the first phase of a three-year Baoji, Shaanxi province, ca. 1050–1000 BCE. Washington, DC goal is to showcase major collections Aggressive spikes and projections, with www.mnh.si entire suite of six Chinese galleries. The motifs in high relief, distinguish distinctive Through April 24, 2011 founder’s original focus on esthetics regional style that appeared at beginning of Coral reef conservation is the key in redesigned spaces that reflect the the Zhou dynasty, around 1050 BCE—break message of Hyperbolic Crochet Coral from design of vessels created earlier in Reef, a project created by Marga- Chinese jade carvings and vessels artistic centers to the east. Numerous vessels castand comparativefrom bronze study.are some of the oldest reportedly unearthed between 1912 and ret and Christine Wertheim of the and most esthetically and technically 1918 at Baoji, western Shaanxi province; may accomplished works of art ever cre- have been made in series of casting steps at Charles nearby foundry in northwest China. mathematics,Institute for Figuring conservation (Los Angeles, and art, this Lang Freer amassed a large number projectCA). Interweaving engages local the communities fields of science, to ofated. Chinese In the objects early 20th that century, have come to achievements of jade production, help raise awareness about the plight epitomize the classic periods of Chi- including These a 80 large wor groupks illustrate of jade the disks - tion with the exhibition, the National These objects seem to have played an Museumof the world’s of Natural coral reefs. History In associa launched nese art history. from the Liangzhu and later cultures. The Freer Gallery of Art represents Fall 2010 Newsletter of the Decorative Arts Society, Inc./17 the Smithsonian Community Reef establishment that many perceived as Fleming’s and Holzapfel’s works may resemble functional forms but are pure DC, metropolitan area may participate. the relative speed with which basic inLocal crocheting residents portions of the Washington, of the reef on skillsconfining. could The be masteredlathe’s ease inspired of use anda All 66 objects in the exhibition may - besculpture. seen in a slideshow at the museum’s Supported by the Coral Reef Alli- display. fledgling community of American art A catalog, published by the muse- and Quiksilver Foundation, the exhibi- ists to become wood turners. umwebsite. and distributed by Random House, tionance aims (CORAL), to educate Embassy the ofpublic Australia about features an interview with Fleur Bresler by Kenneth R. Trapp, former The exhibition features clusters of curator-in-charge at the Renwick crochetedthe need to corals protect and coral other reefs. marine life Gallery made of yarn and recycled materials The exhibition travels to several that combine the mathematics of hy- museums. in the United States begin- perbolic geometry with the teachings

ning in 2012 (for confirmed venues, Theof crochet Art of techniques.Gaman: Arts and Crafts go to americanart.si.edu/exhibitions/ from the Japanese American Theindex.cfm#traveling). Art of Living: Textile Furnishings Internment Camps, 1942–1946 from the Permanent Collection Smithsonian Institution/ Textile Museum Renwick Gallery “Red Fern,” turned and carved box elder, Washington, DC Washington, DC 1995, by Ron Fleming. Gift of Fleur and www.textile.org www.americanart.si.edu Charles Bresler in honor of Kenneth R. Through January 9, 2011 Through January 30, 2011 Trapp, curator-in-charge of Renwick Gallery Pieces on display include hangings, (1995–2003). rugs, chair covers, cushions and other wood-and-metal bird pins, furniture, Works in the exhibition, from the items made in societies from the late teapots More and than musical 120 objects, instruments, including - Roman Empire and colonial Peru to ment’s evolution toward a more sculp- 1980s and 1990s, display the move David Ells- their owners protection, comfort, color Aexemplify Revolution works in Wood: created The by Breslerinternees. worth, Mark and Melvin Lindquist, 20th-century America. The fabrics gave tural esthetic. Objects by Collection Edward Moulthrop, and Rude Osolnik Smithsonian /Renwick Gallery demonstrate the range of expression Colorsand pattern. of the Oasis: Central Asian American Art Ikats Washington, DC Recent works by Ron Fleming, Mi- Textile Museum that can be achieved on the lathe. www.americanart.si.edu chelle Holzapfel, Hugh McKay, Mark Washington, DC Through January 30, 2011 Sfirri and others reveal new tech- www.textile.org A Revolution in Wood celebrates niques, including multi-axis turning, Through March 13, 2011 the gift of 66 pieces of turned and the incorporation of secondary ma- This exhibition features a selec- carved wood to the Smithsonian tion of 148 19th-century Central Asian American Art Museum by collectors The Bresler collection illustrates these ikats given to the museum by collector terials and a strong focus on carving. Fleur and Charles Bresler, including evolving techniques and esthetics, Murad Megalli pieces that highlight the capacity of which has led to increased use of the are named for the technique used to term “wood art” to describe the me- create them, which in 2005. involves These binding textiles artworks are on public display for the and dying bundled warps, and some- this organic material. Nearly half of the times the wefts as well, several times howdium. many artists saw wood as a mate- Mark Lindquist’s style transformed first Woodtime. The’turning gift describesis one of the the largest act of Frank Cummings, J. Paul Fen- men and women; women’s dresses and ofshaping wood aart block to any of woodAmerican with museum. handheld nell and William Hunter pierced their pants;before andweaving. cradle Items covers, include hangings coats and for rial. tools as it spins on a lathe, the founda- vessels, removing the functionality of Derek Ben- The technique, although used in como and Bruce Mitchell moved the fragments, on view for the first time in the objects. Artists such as carpentrytional tool for of thecenturies, medium. has only been the USA. Florida employed by artists in United States The Chihuly Collection fieldThe away most from dramatic the conservative shift in the forms last Morean Arts Center of the past. - - St. Petersburg, FL erssince took about up woodthe 1940s. turning During as a meansthe early anel Jacob- 20 years has been the advent of carv www.ChihulyCollectionStPete.com of1970s, exploring a growing new modesnumber of of artistic mak son, Michael Lee and Norm Sartorius ing. The work of artists J Permanent expression and working outside a craft This permanent exhibition of Dale is strictly for contemplation. Many of 18/ Fall 2010 Newsletter of the Decorative Arts Society, Inc. Chihuly’s work includes early works and Set of 12 silver forks and 12 knives in original cutlery box, silver, pitch, base metal: steel; wood, paper, Artnew and pieces Design created in thefor St. Modern Petersburg. Age: base metal: brass. 12 1/4 x 7 1/8 x 4 3/4 in. English— Settle, Thomas Selections from the Wolfsonian and Co., United Kingdom; England; Collection probably Sheffield, 1760–70. Owned Wolfsonian at Florida International by Dwight Family of Springfield. University Ownership descended through Miami Beach, FL Elizabeth Buckminster Dwight www.thewolf.fiu.edu (1801–55), daughter of Colonel Ongoing Thomas Dwight (1758–1819), Art and Design in the Modern Age and Hannah Worthington Dwight provides an overview of the Wolfso- (1761-1833). Handles stamped silver and pitch-filled. Forks have three nian ’s holdings and showcases the steel tines, knives have scimitar- museum’s collection, which spans from shaped steel blades. Knife blades marked “SET”; each knife and fork display provide insight into the ways haft stamped “Co.” Mark refers to 1885 to 1945. The nearly 300 works on Thomas Settle and Company of Brinsworth’s Orchard (Sheffield, exploresdesign has design-reform influenced and movements, adapted to England), listed in Sheffield Directory architecture,the modern world. urbanism, The installationindustrial of 1787 as maker of “Table Knives, design, transportation, world’s fairs, Silver and Plated.” Knife box made of wood covered in black paper pocked advertising, political propaganda and to simulate appearance of sharkskin or shagreen. Box lid hinged with lock The themes and objects in Art and mechanism on front. Interior of box laborDesign iconography. in the Modern Age provide lined in red baize with silver threads a picture of the past, and a path to between slots for forks and knives. understanding today’s cultural and - The arrangement of dishes is based in ics, sculpture, handmade and mass- region-wide promotion “Table for Ten: part on instructions given by Robert productionpolitical issues. furniture, Items graphicinclude design,ceram toric houses. It is offered as part of the Roberts’ House Servants Directory books, ephemera, and household The exhibition displays more than objects, including a handmade box The Art, History and Science of Food.”- combining Arts and Crafts tenets with quette, foodways and social life, includ- MA),(1827). the Robertscountry (ca.estate 1780–1860) of Christopher was Maori decorative motifs, by New Zea- ing40 objects tureens, related decanters, to 18th-century cruet stands eti the butler at Gore Place (Waltham, land silversmith Reuben Watts; “Elec- tricity,” a bas-relief produced for the include a knife box with original silver GoreThe (1758–1827), faux food in U.S. the senator exhibition and was 1933 Chicago World’s Fair; mass-pro- cutleryand hot-water that was dishes. owned Featured by the Dwight objects governor of Massachusetts. duced moderne furniture by American industrial designers Kem Weber and rare American silver cruet set made created by three artisans: Sandy Levins Paul Frankl; and Alexander Stirling byfamily New of York Springfield, City silversmith MA, ca. 1785; Daniel a of New Jersey, Henri Gadbois of Texas Calder - Christian Fueter, engraved with the Photoand Shirley Clay: WillisIn the of Picture North Carolina.with arms of the Van Voorhis Warren Mather ’s sculpture, “Star,” a female fig 1754–’64; and a dark-blue transfer- Fuller Craft Museum ure he created for the Panama-Pacific printed Staffordshire tureen family, once ca. Brockton, MA ExpositionMassachusetts of 1915. owned by the Hall www.fullercraft.org Dinner is Served!: Dining and the Through January 23, 2011 Decorative Arts in Early America family of Goshen, Photo Clay presents the artist’s Historic Deerfield CT, ca. 1830. work from the last decade, with an Deerfield, MA Before 1700, every dish of the meal emphasis on the development and www.historic-deerfield.org shouldwas placed be divided on the intotable courses, at once. usu Dining- diversity of his exploration of visual Through February 27, 2011 à la française stipulated that the meal This exploration of the social, dining proved more exciting, as diners cultural and artistic importance of din- couldally two view or more.decorated Visually, dishes this on type offer of andperception tested theover expressive the last five and years. technical ing in early America presents accou- For 30 years, Mather has explored - trements of dining, ranging from the To illustrate dining à la française, ordinary to the exotic, and recreations beforesettings choosing. at museum’s historic houses photographyboundaries of and clay. computer-generated His recent work fea of period dinners, complete with faux show seasonal menus of late 18th- and imagestures his onto method a clay for body transferring in glaze by film, food, in the dining rooms of three his- early 19th-century rural New England. silkscreen printing. Fall 2010 Newsletter of the Decorative Arts Society, Inc./19 Mather has a background in Fuller Craft Museum antique doll beds were collected over anthropology and is the originator of Brockton, MA sodium carbonate spray as a substitute www.fullercraft.org January 15–September 25, 2011 from40 years the fromKruger all Collectionover the United of Minia - imagery from video stills and digital Boston-based Nathalie Miebach is tureStates. Furnishing Also on view and are Decorative three rooms Arts , for salt-glaze firing. Recent work is of known for her structured representa- on loan from the University of Nebras- tile murals and plates—his large pan- oramaphotographs, pieces firedcreate in and ceramic reinforce glaze the on physical structure of a panoramic print walltions and of scientific suspended data works in basket- based on aka vignette College withof Architecture. furniture and Each accesso room- weatherweaving. and This marine installation environmental combines features a 1/12-scale miniature quilt in

Thein large New discs Materiality: of glazed Digitalearthenware. ries. Examples include miniature Lone Dialogues at the Boundaries of Thedata Legacycollected of fromAtelier the Janiyé Gulf of Maine. Star and Four-Patch style quilts. Contemporary Craft Fuller Craft Museum Fuller Craft Museum Brockton, MA Brockton, MA www.fullercraft.org www.fullercraft.org January 22–July 24, 2011 Through February 6, 2011 Celebrating the work and legacy of The artists in The New Materiality Boston-based jewelry artist Miyé Mat- use new technologies such as digital sukata (1922–1981), this exhibition is video and audio, and computerized a retrospective selection of Matsukata’s design with traditional craft materi- work alongside the work of colleagues Nancy Wills Michel, Alexandra Solowij Watkins and Yoshiko Yama- One of three rooms from Kruger Collection Differentals—clay, glass,Lines: wood, Drawings metal by and fiber. moto of Miniature Furnishing and Decorative Arts, Craft Artists on loan from the University of Nebraska College of Architecture, with miniature quilt, Loom. and Lathe: The Art of Kay Fuller Craft Museum furniture and accessories. Brockton, MA Sekimachi and www.fullercraft.org Fuller Craft Museum Revisiting “The Art Quilt” Through February 27, 2011 Brockton, MA International Quilt Study Center This exhibition presents previously www.fullercraft.org & Museum unseen sides of Vivian Beer, Dale February 5–September 11, 2011 University of Nebraska-Lincoln Chihuly, Dan Dailey, Steve Ford and Lincoln, NE David Forlano, Lissa Hunter, Sergei woodturning showcases the careers of www.quiltstudy.org This exhibition of fiber art and Isupov, Judy Kensley McKie, Norma and Bob Stocksdale, December 17, 2010–April 3, 2011 Minkowitz, Jon Eric Riis, Tommy The Art Quilt was an Simpson, and Roy Superior, who are early exhibition of studio quilts that married for more than 30 years. known best for their work in ceramics, Furniture Divas: New Work by explored In 1986, the context in which quilt- Contemporary Makers Fuller Craft Museum Revisiting “The Art Quilt” includes glass, jewelry, wood or textiles. Caravan: An Installation by Brockton, MA quiltsmaking from progressed the original from show craft repre to art.- John Garrett www.fullercraft.org Fuller Craft Museum January 22–July 24, 2011 Brockton, MA February 19–October 30, 2011 senting early insights into this art form. www.fullercraft.org Furniture Divas presents the New York March 20–27, 2011 contemporary work of a dozen women Quilts: Masterworks from the New Mexico-based textile art- American Folk Art Museum ist John Garrett, known for weaving American Folk Art Museum familiar and unlikely materials into in the field of Nebraskastudio furniture. New York, NY Childhood Treasures: Doll Quilts www.folkarmuseum.org installation for the Fuller Craft’s from the Ghormley Collection Through October 21, 2011 complex works, creates a site-specific International Quilt Study Center This exhibition launches the layered work created in modular & Museum Year of the Quilt, a celebration of the sections,Courtyard inspired Gallery—a by textiles large, multi- created by University of Nebraska-Lincoln nomadic people of the Middle East and Lincoln, NE pieces in the collection, the exhibitions www.quiltstudy.org includeAmerican recent art form. gifts, Highlighting bedcovers that textile Through December 12, 2010 have rarely been on view and corner- ChangingWest Africa. Waters: Installation by Nathalie Miebach During the late 19th and early The more than 100 19th- and stones of the museum’s quilt holdings. early-20th–century doll quilts and 20/ Fall 2010 Newsletter of the Decorative Arts Society, Inc. Cloisonné: Chinese Enamels from the Several factors, ranging from were needed for mere warmth, quilt- Yuan, Ming and Qing Dynasties the unreliability of reign marks to a makers20th centuries, used the when art form quilts to noexpress longer Bard Graduate Center: Decora- dearth of information about Chinese tive Arts, Design History, - Material Culture their creativity within the confines of New York, NY aspectsworkshops, of Chinese make it cloisonné difficult to produc date - usedpopular the decorating historical concept trends. Mostof a quilt re as www.bgc.bard.edu tioncloisonné have beenworks selected with accuracy. as guidelines Three acently, starting contemporary point for artistic, fiber artistsand often have January 26, 2011–April 17, 2011 for the exhibition—decoration, form This exhibition is a collaboration and intended function—since an Les Arts Dé- object’s decoration and form tend to social and political, statements. coratifs, Musée des Arts décoratifs indicate the purpose for which it was will Partbe closed I of the for exhibition installation is onApril view 26– (Paris,between France) the BGC and and brings together intended, whether it be ritual, decora- through April 24, 2011. The galleries cloisonné from this French collection Quilts: Masterworks from the with objects from public collections in most often are considered in their vari- AmericanMay 8. Part Folk II opens Art Museum on May 10. is sup- the United States, including the Brook- oustive meaningsor utilitarian. within The the motifs context that of occur the lyn Museum, Philadelphia Museum period during which the objects were of Art, Metropolitan Museum of Art, ported in part by the Leir Charitable - Asian Art Museum of San Francisco, tionFoundations Fund; New in memoryYork City of Department Henry J. & Art Institute of Chicago, Phoenix Art produced. The exhibition looks at how, why ofErna Cultural D. Leir; Affairs; Gerard and C. Wertkinpublic funds Exhibi Museum and Springfield Museums, and for whom these enamels were pro- from the New York State Council on the Massachusetts duced, and how attitudes toward this Cloisonné examines the technique technique changed during the Ming Elizabeth V. Warren is guest cura- in China from the. end of the Yuan Arts. Quilts: Masterworks from dynasty (1279–1368) to the end of the - the American Folk Art Museum, is by - andclaimed Qing power dynasties. from the Mongol Warren,tor. A book, with a preface by Maria Ann tor is Béatrice Quette of the Musée “barbarians”In 1388, afterand founded the Chinese the Mingre Conelli, foreword by Martha Stewart Qing dynasty (1644–1911). The cura dynasty, Cao Zhao wrote Essential and introduction by Stacy C. Holland- The cloisonné enamel technique Criteria of Antiquities (Gegu yaolun), a er - wasdes Artsmost décoratifs. likely introduced into guide for collectors of “antiquities,” in tional Publications in association with China during the Mongol Yuan dynasty which he said that the gilded surfaces the, isAmerican available Folkfrom ArtRizzoli Museum Interna and brilliant colors of cloisonné enam- Chinese cloisonné pieces bearing a 9/11 National Tribute Quilt . reign(1279–1368). mark were Although made during the earliest the Xu - (Folan or Falan) put them at odds with American Folk Art Museum ande period (1426–35), the exhibition theels originatingaustere criteria in the of Frankish the scholars’ Lands New York, NY includes a few pieces that introduce esthetic inherited from the Song www.folkarmuseum.org a controversial new attribution from Permanent This attribution recently documented dynasty (960–1279), which the Ming represents the response of the Steel bythe specialists late Yuan andand earlycurators Ming from dynasties. the byrevived ink-wash after paintings the Mongol and invasion. by ceramics This Quilters The 9/11 of United National States Tribut Steele CorpoQuilt - Palace Museum (Beijing, China) is a withclassical sparse Chinese or no esthetic decoration, is exemplified in which ration to the events of September 11, major contribution to cloisonné schol- According to Cao Zhao, cloisonné form and surface enhance one another. well2001. as This Canada, small Spain, quilt clubDenmark received and arship. quilt blocks from all 50 U.S. states, as - Australia. The quilt measures eight feet highThe by 30 four feet central wide, panelsand is constructform a montageed of 3,466 of blocksthe twin in towerssix panels. of the World Trade Center against the New panels in which each three-inch-square blockYork City bears skyline, the name and ofare one flanked person by

An accompanying book provides thewho location died in theof each disaster. victim’s name, name of the quilter, and names of the Tripod large basin with bird handles, cloisonné enamel of copper alloy, 4 3/4 x 3/8 x 10 3/8 in. individuals and companies who do- China, 15th century, Qing Dynasty for handles. Les Arts Décoratifs-musée des Arts décoratifs, Paris. Bequest of Charles Rochard, 1903. nated their time, effort and materials. Fall 2010 Newsletter of the Decorative Arts Society, Inc./21 enamels were appropriate only for the arts production resumed and imperial “Form and Decoration,” Odile Nouvel workshops were established in the on “29th-Century French Cloisonné undoubtedly followed the guidelines Enamels,” Zhang Rong ofapartments Cao Zhao, of but women. it is interesting Some scholars that in 17th century, there was a resurgence of Commissions,” and Susan Weber on the same period cloisonné pieces were Forbidden City. Toward the end of the on “Imperial - are accompanied by reproductions of From the late Yuan dynasty to the enameltury, the production. reign of the Qianlong emperor exhibition“The International objects, relatedReception. illustrations, Essays earlybeing Ming commissioned dynasty, Buddhist for the court. temples (1736–95),The last were 60 years marked of the by 18tha growing cen were the primary patrons or intended interest in the arts in general and the - Objectsmaps, a glossaryof Exchange: and a Social bibliography. and in cloisonné technique and additions Material Transformation on the isrecipients the motif of most cloisonné. often encountered Indeed, the lo on todecorative the available arts inpalette particular. of enamels Advances fos- Late 19th-Century Northwest tus flower, a Buddhist symbol of purity, tered an increase in cloisonné produc- Coast bowls and mandala bases have scroll- Bard Graduate Center: Decorative ingChinese lotus enamels. designs intoFor example,which the some eight Buddhism, commissioned many ritual Arts, Design History, Material Buddhist symbols have been integrat- objectstion. The for Manchus, Buddhist followers temples, ofand Tantric there Culture - were numerous commissions for the New York, NY ed for ritual use, they have traditional imperial palaces and private residenc- www.bgc.bard.edu Chineseed. Because forms these that objects derive werefrom intendarchaic January 26–April 17, 2011 that resulted was accompanied by a The later half of the 19th century resurgencees. The variety of the of formstaste for and hidden decoration sym- was a period of rapid and dramatic bronzes of the Shang dynasty (ca.1700 change for the indigenous peoples of century,BCE–1050 the CE) schematic or from scrollingNeolithic lotus jades. designsIn the late of 14thBuddhist century origin and were the 15thjoined bols prevalent in the Ming dynasty. Objects of Exchange uses the material by more naturalistic depictions of of theThe 19th influence century of but the was Qianlong accompa reign- culturethe Northwest of the period Coast ofas Northevidence America. of niedremained by a decline strong throughin workmanship the first halfand historical change and shifting inter- grapes, camellias, hibiscus, peonies andflowers lotuses—which and fruit—chrysanthemums, were often used decorated clothing and containers to aesthetic renewal quality. of production During the was reign sparked of cultural relations. Objects range from forms were now supplemented by bythe widespread Guangxu emperor Western (1874–1908), interest in the This is the inaugural exhibition for the other,as symbols newer of forms the four deemed seasons. appropri Archaic- technique, as a result of Chinese par- ceremonial masks and trade goods. ate for use in domestic rituals and at ticipation in international exhibitions features the collection of the American MuseumBard Center’s of Natural new Focus History Gallery. and It ex - events, such as the sack of the summer amines the material culture of the pe- emperorthe tables (1522–1619) of the scholar display class. forms palaceof the time. during Equally the Second important Opium political War riod in terms of shifting social relations Objects from the reign of the Jiajing- within Native groups and between prompted a rediscovery of cloisonné in Natives and the settler states around theand character decoration for specifically longevity (charactershou) and in 1860 by British and French troops, depictionsistic of this ofperiod. cranes The in thepresence clouds of in - To illustrate the impact of these dicate that an object was intended for Europe, especially in France. - orthem. cultural It focuses categories, on boundary but document objects nique in late 19th-century France, the patternsthat do not of interculturalfit well-established exchange stylistic and Buddhist, Taoist and even Confucian exhibitioninfluences willand concludethe renewal with of cloisonnéthe tech Taoist ritual use. Other pieces combine enamels produced by the Maison Christofle, Ferdinand Barbédienne Nationaltransformation. Design Triennial: includingdecorative two motifs. mandarin This period ducks, also a carp saw and James Tissot Why Design Now? a diversification of themes and motifs, A full-color catalog, published by Cooper-Hewitt, National Design During the second half of the . Museum 16thin a pool century, and seahorses,in the reign among of the others.Wanli des Arts décoratifs, in cooperation New York, NY emperor (1573–1619), there was a withthe Bard Yale Graduate University Center Press, and incorpo Musée- www.cooperhewitt.org marked increased in enamel produc- rates advances in scholarship since Through January 9, 2011 the publication of the last important This trend continued through the late on contemporary and environmental Mingtion and and a early decline Qing in dynasties,craftsmanship. al- Terese Designers in a range of fields focus- Tsework Bartholomew in the field in onEnglish “Hidden more Mean than- motifs continued and the repertory of ings,”20 years Rose ago. Kerr Essays include seeksconcerns out inand a varietypresents of innovativemedia. Inaugu though the diversification of decorative of Form and Decoration from Chinese designsrated in at2000, the centerthe Triennial of contemporary program Under the Kangxi emperor (1662– Antiquity,” Lu Pengliang on “The onInfluences “The Role forms increased. and Function of Cloisonné During the series, the National Design Trien- Ming and Qing,” Béatrice Quette on nialculture. explores In this the fourth work exhibition of designers in the 1722), the first ruler of the Manchu Qing dynasty, significant decorative 22/ Fall 2010 Newsletter of the Decorative Arts Society, Inc. addressing human and environmental formulas and skills that revolutionized work through the lenses of innovation, - design practice, from architecture and transformation,market. The exhibition nature examinesas inspiration, the sionary and scientist, Kilian Stumpf, productsproblems to across fashion, many graphics, fields of new the exoticism, fashion and celebrity, and organizedthe industry a glassworks in China. One in Beijingsuch mis in includes design drawings from the Van innovations of European alchemists to withmedia support and landscapes. from the Agnes Bourne the 1680s, extending the influence and and Thethe Mondriaan exhibition isFoundation; sponsored Norby GE- EastCleef Meets& Arpels West: archives. Cross-Cultural Influences in Glassmaking in East Asia. Esme Usdan Exhibition Endowment the 18th and 19th Centuries Fund,wegian Ministry Consulate of CultureGeneral Denmark, in New York, Corning Museum of Glass and public funds from the New York Corning, NY State Council on the Arts, among oth- www.cmog.org Through October 30, 2011 This exhibition explores the ers. -

decorationcross-cultural among influences glassmakers in technol in ogy, scientific experimentation and

ThroughEurope, China a range and of Japan museum after objects East met fromWest thein the early 18th modern and 19th period, centuries. East Meets West documents the European adoption of traditional Asian styles and iconography, and examine the largely overlooked impact of Westerners— missionaries, alchemists and crafts- Sakazuki Decanters and Cups Set, glass. men—on the development of new Satsuma Clan Factory, Japan, about 1857. glassmaking techniques and formulas Drawing on the tradition of The extension of the Silk Road porcelain-making, glassmakers in China in the East. blew and enameled opaque white glass (1254–1324) brought Eastern goods to to Italy in the age of Marco Polo for foreign and local markets. The Europe. Influential tastemakers such museum’s scientific analysis by X-ray Couched coat, 100% organic cotton, natural - its collection has revealed that the com- indigo plant dye, paint, thread, snaps; indigo cameas Grand collectors Duke Ferdinando of Chinese porcelain,I de’ Medici positionfluorescence of some of a offew the of white these glassobjects used in dyed and embroidered. Alabama Chanin sparkingand Elector a demand Christian that I of spread Saxony beyond be in the East is closely related to the milk 2009 and 2010 Collections. Natalie Chanin East (American, b.1961), Alabama Chanin. United scientists throughout Europe attempt- Meets West suggests that a connection States, 2009. Photo: Alabama Chanin. the courts. This inspired imitation, and toglass the made community by German around craftsmen. Stumpf may The early experiments were Set in Style: The Jewelry of Van Cleef closelyed to replicate linked to the glassmaking, material. based Although the Chinese absorbed & Arpels on a longstanding misconception Westernbe the reason glassmaking for such formulas results. and Cooper-Hewitt, National Design that porcelain was a vitreous, not technology, they did not borrow Euro- Museum - New York, NY cal knowledge needed to create glass www.cooperhewitt.org imitatingclay-based, porcelain substance. was The transferred alchemi frompean indigenousforms or decorative crafts such techniques. as porce- February 18–June 5, 2011 from glassmaker to glassmaker across lainInstead, making they and carried hardstone over approaches carving and This exhibition explores the sig- further enriched their stylistic reper- the production of a variety of opaque toire by using European glassblowing whitethe continent. “milk glass” Their objects, efforts which resulted found in includingnificance ofthe the establishment firm’s contributions of Van a market alongside imported (and, Cleefto jewelry & Arpels design in inNew the York 20th at century, the eventually, European-made) porcelain severaland cutting examples methods. of cameo The exhibition glass ves- showcasessels, in which this the dual Western influence technique with of overlaying opaque of different jewels,beginning timepieces, of World fashionWar II. Onaccessories view and Europeansatisfied the Christian fashion missionaries for enameled colors is combined with local carving andare more objets than d’art, 250 many works, of which including were broughtchinoiserie-style the new milk-glassobjects. recipes created exclusively for the American to Asia, along with other glassmaking - techniques and iconographic style. Europeans also welcomed Japa Fall 2010 Newsletter of the Decorative Arts Society, Inc./23 nese designs, which introduced a new politan’s series of solo exhibitions of Metropolitan Museum of Art range of shapes, forms and motifs to the work of contemporary artists at New York, NY - www.metmuseum.org houses adopted Western practices into exhibited at galleries and museums, Through January 23, 2011 theirthe West. production In parallel, during Japanese the second glass half includingmid-career. S.M.A.K. Sigurdardottir’s Museum workof Con has- Charles Rohlfs (1853–1936) cre- temporary Art Reykjavik ated works that combined elements Museum of Art, P.S.1 Contemporary of Arts and Crafts, Art Nouveau and of the 19th century. Glasses from the Art Center (New (Ghent), York, NY), Renais- EnglishSatsuma cut Clan crystal, Factory, became which fashionable reflected sance Society Sala barely spanned a decade, he designed the decorative influences of Dutch and Siqueiros (Mexico City, Mexico) and onlyproto-modernism. a few hundred In works, a career many that for his Sakazuki decanters and cups is in the Fondazione Sandretto (Chicago, IL), . A set of geometrically cut The exhibition examines the Technological exchange and stylis- Rugs and Ritual in Tibetan (Turin, Buddhism Italy). own home. exhibition. Metropolitan Museum of Art - New York, NY ofdesigner’s the works style descended through in50 his examples family; encestic influences in glass continueddesign and into the theemer 20th- www.metmuseum.org othersof furniture are on and loan related from objects.museums Many and gencecentury, of withan international continued global scene influ of glass Through March 27, 2011 private collections; several works are artists who used traditional techniques Rugs and Ritual in Tibetan Bud- from private collections in the New and interpreted historic craft traditions dhism is dedicated to ritual practice in York area and have not been displayed Tibetan Vajrayana Buddhism and ex- plores the role of ritual objects used by cards and pamphlets for Rohlfs’s work, Boiseries—Katrinin new ways. Sigurdardottir its practitioners in pursuit of spiritual frompreviously. the Met’s Rare collection, printed advertising are on dis- at the Met Metropolitan Museum of Art rugs and utensils—including knives, New York, NY enlightenment. The 30 tantric ritual play. www.metmuseum.org daggers and an offering table—illus- Through March 6, 2011 vessel, fire-offering ladles, ritual staff, Katrin Sigurdardottir at the Met Tibet from its beginnings in the eighth is an exhibition of two new sculptural trate a Buddhism that flourished in installations created for the Metropol- installation features Tibetan rugs and itan ritualcentury utensils through from the the 20th collection century. of The who lives and works in New York City Anthony d’Offay by this Icelandic artist (b. 1967), with New York-based loans and works The installations are full-scale of London, England, andinterpretations Reykjavik. of 18th-century French Vajrayana (Diamond Vehicle) rooms preserved at the Metropolitan refersfrom the to themuseum’s advanced collection. school of Ma- Museum, one from the Hôtel de Crillon

(Paris) and the other from the Hôtel de hayana Buddhism practiced in Tibet. (1777–80) on the Place de la Concorde Dragmar,A personified was ritualused in dagger, an exorcism-type Phurba One Boiserie is the exterior of performanceEmanation of toPadmasambhava slay passions that as Gurucan anCabris enclosed (ca. 1774) chamber, at Grasse seen throughin Provence. Corner chair, oak; 28 7/8 x 19 x 19 in., by Charles Rohlfs (American, 1853–1936) surveillance mirrors, complete with Highlights are two large cloth 1898–99. Dallas Museum of Art, promised interfere with enlightenment. replica furniture based on the Hôtel de paintings of the late 16th century Gift of American Decorative Art 1900 Foundation in honor of Joseph Cunningham. - Mahakala—an emanation of transcen- The exhibition explores Rohlfs’s Crillon period room. depicting wrathful protective deities. dottir altered scale and proportion to dental Buddha Akshobhya, and the life and career, including the activities In the second Boiserie, Sigurdar create something like a folding screen principal destroyer of the corporeal of his wife, artist and mystery novelist bonds tying human to material and The installations are inspired by physical existence—is represented in his motifs; his commissioned interi- rather than an enclosed space. authentic interiors, with carved and both tangka paintings and sculptures, Annaors; his Katharine efforts at Green; self-promotion the sources and of gilded paneling, and composed of ma- along with a sculpture of a wild ascetic, probably a mahasidda (one of the - advanced yogic practitioners revered in marketing;Born in and Brookl his ynattempts in 1853 to to define a a ed,terials following such as centuries-old fiberboard, mirrors traditions; and conceptual framework for his artwork. white paint. One is entirely handcraft the other is digitally machined, using studied drafting and design at the Coo- advanced technological and fabrication TheTibetan Artistic Buddhism). Furniture of Charles German émigré cabinetmaker, Rohlfs Rohlfs, American Furniture living as a designer of cast-iron stoves, This is the seventh in the Metro- Designer wasper Uniona patternmaker (New York, for NY). foundries, He earned and a techniques. 24/ Fall 2010 Newsletter of the Decorative Arts Society, Inc. also—with less success—pursued a ca- Art investigates how artists have The exhibition was organized by used tableware as a canvas or font of Cunninghamin association and, with at the the foundation. Metropolitan, reer Newas an research actor. They shows married that Rohlfs’s in 1884, Alice Cooney Frelinghuysen, Anthony style porcelain tea set, in which she is earlyand moved experiments to Buffalo with in furniture 1887. - picturedinspiration, in the as in costume Sherman’s of Madame Louis XV- de design involved close collaboration can Decorative Arts, who is also a DAS W. and Lulu C. Wang Curator of Ameri neighbors and guests asked Rohlfs to Pompadour. makebetween furniture husband for and them wife. as well,When the award recipient. Milwaukee Art Museum,The Met is Chipstone the exhibition Foundation’s final workshop with a few freelance carvers stop. It is organized by the hobby became a business. He set up a - Foundation, with support from Alamo Rentand American A Car and Decorative the Windgate Art Chari1900 - and,Rohlfs by the produced1890s, was furniture promoting on comhim- missionself as a fordesigner the lodges of “artistic of patrons furniture.” in the Adirondack Mountains in upstate New Eattable Drink Foundation. Art Design York; received acclaim for work he Museum of Art and Design Still Life Table from the series “Ultimate Art New York, NY submitted to international exhibitions Furniture,” maple wood, oil on canvas, 18 x - madmuseum.org 26 1/2 x 21 in. Constantin and Laurene Boym, - Through March 27, 2011 2006. Photo: Boym Partners. such as the 1901 Pan-American Exposi ternational Exposition of Modern Art; The artists and designers in this Design shows how contemporary tion in Buffalo and the 1902 Turin In and signed a distribution contract with exhibition have created objects for the designers are rethinking tableware in the Chicago department store Marshall table—cups and plates, tea sets and new works such as the Boym Part- ner - Despite these successes, his mate Art Furniture series, which uses Fieldworkshop & Company. was in existence for only a silverware—that redefine the art of ’s “Still Life Table,” from their Ulti dining. Drawing from MAD’s collection, eating and drinking by such artists as The exhibition includes designer the exhibition features 60 objects for became readily available and styles Ted Muehling, Cindy Sherman and Peterfound Tingpaintings’s installation as part of of the plates furniture. few years. As mass-produced furniture changed, Rohlfs’s eccentric ideas did decorated with decals from the Royal not attract enough of a following to from handcrafted vessels of the early Crown Derby Factory as one of the . Featured works range - - exhibition highlights, accompanied doned cabinetry and became active in ware and goblets, to recent conceptual by a video that shows the designer’s sustain the business. He all but aban years of the collection, to elegant flat works by artists such as Paul Scott, collaboration with the artisans at Royal Rohlfs’s furniture was made of oak who uses the familiarity of tableware stainedcivic affairs. a matte brown and embellished The show reveals the ways in which CrownThink Again:Derby. New Latin American and carving combined many different theas a table frame can for be contemporary a domestic setting issues. for Jewelry sources,primarily from with the carving. abstract His natural silhouettes- families and feasts, as well as an intel- Museum of Art and Design ism of Art Nouveau to the shapes and New York, NY materials characteristic of the Arts and Eat Drink Art Design showcases madmuseum.org tableware—cups,lectual space for ideas plates, and silverware, history. Through January 9, 2011 - The Museum of Arts and Design Crafts movement. His carving recalled - HeChinese claimed and that Japanese his individual forms and inspira - tea sets—that redefines the art of din view of contemporary art jewelry from tionhighly came stylized from renditions the natural of grain nature. of oak pieces,ing. Drawn from largely handcrafted from the mid-century museum’s presents the first comprehensive over collection, the exhibition features 60 example, the carving on one desk chair conceptual works by artists who use byLatin Otro America Diseño to Foundation be seen in forthe Cultural United resemblesand his own the creative cellular imagination. structure of For oak thepots, familiarity to flatware of andtableware goblets, as to a moreframe States. The exhibition was organized Think Again showcases more Other works include a table with The show is organized in four Cooperation and Development. legsas seen at the through mid-point a microscope. of each side (rath- parts:for contemporary Eat looks at issues.functional table- - er than at the corners), three-legged cludingthan 80 Mirlaworks Fernandes by more than and 50 Claudia Latin Wasara’s eco-friendly and disposable CucchiAmerican (Brazil); jewelry Valentina artists/designers, Rosenthal in tableware,ware, such manufacturedas the Japanese out company of the (Chile); Elisa Gulminelli and Francis- chairsThe with fully sculptural illustrated or catalog filigreed is arm-by pulp of reed, bamboo and bagasse (a ca Kweitel (Argentina); Jorge Manilla DASand backrests,award recipient and a taperedJoseph Cunningclock. - and Alcides Fortes (Mexico); and ham, curatorial director of the Ameri- Drink examines drinking vessels of Miguel Luciano can Decorative Art 1900 Foundation byproductall kinds, including of the sugarcane a rare spiral-shaped industry). Contemporary works are in con- and published by Yale University Press text with a group (Puerto of historical Rico). works

wine bottle created by Chihuly. Fall 2010 Newsletter of the Decorative Arts Society, Inc./25 primarily from Brazil, Argentina, Co- to transforming the lives of ordinary work surfaces, reflected a commitment Patricklombia, MexicoJouin: Design and Cuba. and Gesture in a basement or annex, the kitchen Museum of Art and Design becamepeople. Previouslya bridgehead hidden of modern from view think - New York, NY ing in the domestic sphere—a testing madmuseum.org ground for new materials, technologies Through February 6, 2011 and power sources, and a springboard Patrick Jouin: Design and for the rational reorganization of space Gesture an American museum of this French Featured alongside the Frankfurt is the first solo exhibition at Kitchenand domestic is a 1968 labor mobile within fold-out the home. unit - dentdesigner. designer From in the 1998—to Facto garden the Chop Snaidero, with two complete kitchens cuttingchair—his board, first Design work as and an Gestureindepen complementedmanufactured by by the a variety Italian of company design objects, architectural plans, posters, by makers such as Alessi, Cassina, archival photographs and selected art- Kartell,features MGX/Materialisemore than 50 of his and products Puifor - cat - contribution of women are prominent- dia video installation, conceived and lyworks, featured all from throughout MoMA’s the collection. exhibition, The , among others. A special multime only as the primary consumers and Four-Gallon Water Cooler, ca. 1865. Leaner of “gesture” in making a culinary dish, users of the domestic kitchen, and also Fenton & Frederick Hancock (working fromproduced prep byto Jouin,service, examines using objects the role of as reformers, architects, designers and 1858–70).

artists who have critically addressed containers served many useful func- graduatedhis design. from Ecole Nationale tions,ware ofprimarily the 19th used century. in the Stoneware prepara- Supérieure Born in Nantes, de CréationFrance, in Industrielle- 1967, Jouin kitchenArt for theculture People: and Decoratedmyths. Stone- Les Ateliers ware from the Weitsman uses might have included household year, he joined Thomson Multimedia; Collection itemstion, storage such as and inkwells, serving match of food. holders, Other from 1995, he in worked 1992. The for Philippefollowing New York State Museum - Starck Albany, NY www.nysm.nysed.gov flowerpots and pipes for smoking to in Paris. Ongoing aluminum replaced pottery as the chief product design and interior architec- bacco. In the 20th century, plastic and In 1999, Jouin established his own - rated stoneware vessels, including jugs, Although most potters were not This exhibition features 40 deco trainedmaterial artists, for kitchen the incised equipment. or cobalt- Histure most studio. recent He has solo received exhibition numerous was at crocks, pitchers, jars and water coolers blue decorations they created on stone- thedesign Centre awards Pompidou and public (Paris, commissions. France) from ceramics and stoneware donated to the museum by Adam Weitsman, ware are now appreciated as prime president of a metal-recycling company New York state was well-suited for Counterin spring Space: 2010. Design and the stonewareexamples of production American folkthanks art. to the Modern Kitchen the New York Times as “utilitarian gray- western New York state. Described in transportation network of its canals, Museum of Modern Art (MoMA) ish cylinders, painted with animals, New York, NY bouquets, streetscapes and portraits, [that] originally held foodstuffs that produce stoneware was shipped from www.moma.org rivers and turnpikes. The white clay to Through March 14, 2011 ranged from brandy to sauerkraut,” the Counter Space pieces on display feature cobalt lions, roosters, eagles, church steeples and productsthe Bayonne, were NJ, sent area out to to potters markets along century transformation of the kitchen canals and turnpikes. The finished and highlights MoMA’s explores recent the acqui 20th-- Stoneware vessels were shaped by sition of a complete example of the Seneca chiefs. Most have never been handalong onthis a transportationpotter’s wheel orcorridor. formed in a iconic “Frankfurt Kitchen,” designed in Weitsman has been donating displayedpieces since before. 1998 and is underwriting a hardcover catalog that is expected vessel had air-dried, an awl or pointed wooden mold. After the freshly shaped 1926–27 by architect Grete Schütte- stick was often used to scratch a simple Lihotzky. pieces of his collection are in storage at - to published next spring. Another 120 oration was also applied with cobalt manufactured In the aftermath for public-housing of World War bluedesign paint, into whichthe surface. withstands Free-hand the high dec estatesI, thousands being of built these around kitchens Frank were- stoneware since his father dug up two stonewarethe museum. beer He bottles has been on interestedthe family in Albany slip clay was used to coat the temperature of the kiln. Dark-brown approachfurt-am-Main to storage, (Germany). appliances Schütte- and Stoneware was the basic utilitarian Lihotzky’s design, with its integrated property when Weitsman was 11. interior. The decorated pieces were 26/ Fall 2010 Newsletter of the Decorative Arts Society, Inc. placed in beehive-shaped kilns and scholarly catalog published by Yale in clay from the museum’s collection that illustrate the heritage of American the heat was at its height, a bucket of fired at about 2,100º Fahrenheit. When University Press, London. Ohio Alessi: Ethical and Radical The salt vaporized, covering exposed The Egypt Experience: Secrets of ceramics. surfacescoarse salt with was a shiny,thrown somewhat into the kiln. pitted Philadelphia Museum of Art the Tomb Philadelphia, PA Toledo Museum of Art www.philamuseum.org Among the common decorations of Toledo, OH or pebbled finish called “salt glaze.” - Through April 10, 2011 www.toledomuseum.org Alessi: Ethical and Radical tation pieces, or stoneware made for No formal closing date birds and flowers were special presen Surveys a series of milestone Alessi This exhibition shows how, over collaborations from 1955 to the family members. North Carolina to ensure the preservation of both the with Ron Arad, the Campana 3,500 years, Egyptians made efforts Contemporary British Studio body and spirit in tombs they consid- Brothers,present. Focusing Achille on Castiglioni, Alessi’s projects Ceramics: The Grainer Collection Michael Graves, Greg Lynn, Mint Museum Alessandro Mendini, Ettore Sottsass, ered to be their “houses of eternity.” Charlotte, NC exhibition are from the museum’s col- Philippe Starck, Robert Venturi and Many of the 150 or so objects in the www.mintmuseum.org lection, and other are on loan from the others, the exhibition includes some Through March 13, 2011 Metropolitan Museum of Art (New Drawn from the collection of York, NY), Field Museum (Chicago, photographs and videos that document Diane and Marc Grainer of suburban Indiana University Art Museum the150 achievements objects, drawings, of the historic family-owned factory Oriental Institute IL), comprised of functional and sculptural Museum (University of Chicago, Chi- Alberto Alessi, president of the Washington, D.C., this exhibition is (Bloomington, IN), companycompany’s and projects. grandson of its founder Highlights include the museum’s Giovanni Alessi, was honored at the objects made between the 1980s and cago, IL) and individual collectors. mummies, returning to public view for Philadelphia Museum of Art with including2009 and establishedfeatures work “contemporary by 100 artists this exploration of ancient Egyptian either born or residing in Great Britain, classics” such as Lucie Rie and newer The exhibition is organized into ceramicists such as Julian Stair, Kate twoCollab’s sections: Design family Excellence and factory Award. his - beliefs about life and the afterlife. Malone, Neil Brownsword and Gray- Animah Robinson: Voices that Taught tory and a survey of past, present and son Perry Me How to Sing future Alessi objects by collaborating Toledo Museum of Art designers, including the experimental . Toledo, OH projects “Tea and Coffee Piazza” (1983) www.toledomuseum.org Through February 27, 2011 The introductory section includes a Ohio artist Aminah Brenda Lynn mapand “Tea of the and exhibition Coffee Towers” plan, designed (2003). by Robinson - Alessandro Mendini tional art materials with found and Among the earliest works in the (b. 1940) combines tradi everyday objects to create two- and exhibition, Carlo Alessi’. s Bombé Tea three-dimensional works of art that are and Coffee Service (1945) represents a cross between folk art, quilting and Alessi’s transition from handcrafted Toledo Museum has ac- quired her Ragmud Collection, which Wild West Horse Bowl, slip-cast earthenware, high art. The transfer prints, glaze, Carol McNicoll, 2000. outsideworks to design industrial team products. is also represent The - A central component of Robinson’s Photo: Diane and Marc Grainer Collection. edcompany’s in this section: first collaboration Luigi Massoni with and an workis showcased is incorporation in this exhibition. of objects such This collection chronicles the Carlo Mazzeri recent history of contemporary British work ushered in a new era of designer hogmawg, a mixture of mud, pig grease, products, introduced’s 1957 by cocktail Alberto set. Ales The- dyes,as men’s sticks, ties small and buttons. rocks, glue She and also lime uses centurystudio ceramics. masters, The then exhibition moves to beginsworks Alberto Alessi’s contribution to the with an overview of the earlier 20th- si’s father, Carlo, and his uncle, Ettore. that demonstrate the two strains of that her fatherPennsylvania taught her how to make. Informed by Fire: Highlights of designers makes up the balance of the firm’s approach to collaboration with makers, from the historicism of American Ceramics exhibition, with objects dating from the Bernardinfluence Leachthat informed and his successorscontemporary to Philadelphia Museum of Art Philadelphia, PA Works by Richard Sapper, whose late 1970s to 2010. Contemporary British Studio www.philamuseum.org Ceramicsthe refugee modernism of by Rie. Through spring 2011 9091 kettle with its two-tone singing This exhibition features works a household icon, are on view next to is sponsored by Duke Energy. whistle (1983) was the first to become It is accompanied by an illustrated Fall 2010 Newsletter of the Decorative Arts Society, Inc./27 contemporary items such as Starck’s Displayed in close proximity to each shaped with four seams instead of the other, the Tea and Coffee Piazza project usual two—represented a departure Riccardo Dalisi’s stainless-steel Nea- and the Tea and Coffee Towers project Juicypolitan Salif coffee citrus maker squeezer (1987) (1990). is paired demonstrate changes in style and tech- period and garnered him the Filene’s with his anthropomorphic Figural nology during the two decades that from the traditional fitted form of the Prototype with Chair, Pierangelo Capucci was born in Rome in Caramia’s Penguin teapot (1993) and Alberto Alessi is now working with Fashion Award in 1958. Accademia Stefano Giovannoni’s Mary Biscuit separateddesigners suchthese as projects. the Campana Broth- delle Belle Arti ers, Rowan & Erwan Bouroullec, and an1930 apprentice and studied to the at thedesigner Emilio - Pauline Deltour Schuberth . He worked briefly as turalbox (1995). styles of their designers, among early designs by Carlo Alessi are being them Other Mario wor Bottaks reflect’s angled the Miaarchitec and reissued using modern. Some production of the factory’s and opened his first atelier Zaha Hadid’s in in Rome in 1950, moving to Via Gregoriana Capucci in was 1955, intr whereoduced he to remains Gio- severalTua pitchers elements (2000), that and can be assembled Robertomethods. Capucci: Art into Fashion vantoday. Battista Giorgini, a buying agent Niche centerpiece (2009), composed of Philadelphia Museum of Art for high-end American department Philadelphia, PA stores who became his champion and into multiple configurations. www.philamuseum.org March 16–June 5, 2011 show in Florence in 1951 and con- Roberto Capucci organized the first Italian high-fashion

(b. 1930)Roberto was Ca - tinued to produce shows until 1965. pucci:one of Artthe foundersinto Fashion of modern is comprised Italian of Capucci presented his first collection in fashion in the early 1950s. the secondFrom 1962–68, of Giorgini’s Capucci fashion presented shows inhis July collections 1951. in Paris was praised for andnearly historical 90 works photographs spanning the that artist’s docu- his use of plastic, his Op Art-inspired mentcareer, the with parallels supplementary between hisfilm designs clips designs made from woven ribbons (the 1965 Optical dress) that paid homage to the artist Victor Vasarely, and em- and the Italian fashion world. “Whistling Bird” Teakettle, stainless steel, broidered evening dresses that glowed polyamide, 8 7/8 x 10 1/4 x 8 5/8 inches. Designed by Michael Graves (American, b. On returning to Rome in 1968, 1934), 1985, made in Italy by Alessi S.p.A., Capucciin the dark. continued his experimentation Crusinallo, Italy (1921–present). Gift of the with commonplace materials such as designer, 1996 - . raffia, wire and stones in the tradition famous A final experimental element of projects: the exhibition the in theof the white Italian satin Arte Colonna Povera dress, movement mod- of Teacludes and works Coffee from Piazza the of firm’s 1983 two and most the the same period. In 1978, he created The dress represented a turning curated and coordinated by Mendini pointeled after in Capucci’s a Doric column.career, as he started Tea and Coffee Towers of 2003, each to explore the idea of dress as actual

freeand producedrein to explore by Alessi. new Informs 1983, and Alessi identified 11 architects and gave them sculpture. The exhibition contains results include services by Michael (1989),sculpture that dresses reveal from the usethe of1980s pleating and Graves,technologies. Hans The Hollein, now well-knownCharles Jencks, andearly exploration 1990s, such of as color the Bougainvilleaand form that Richard Meier, Mendini and Aldo Rossi Dress from Berlin Collection, 1992, demonstrates Capucci’s use of pleats. Alessi repeated the experiment coutureare now systemhis signature. and presented a singu- The exhibition traces Capucci’s . lar collectionCapucci resigned each year fr omin a the different Italian the Tea and Coffee Towers project, artistic career chronologically, from his discovery in 1951 to his sculptures which20 years produced later with Greg 22 Lynnarchitects’s titanium for conceive and exhibit sculptures, includ- - Jan Kaplicky ingcity. a Since series 1992, presented he has at continued the 1995 to and Amanda Levet of Future Systems tail dress with train from 1952–’53, andfrom the 2007. Rosebud Early dressworks from include 1956, a cock as designedflower-like a setensemble. made of heat-resistant view is the series of eight dress sculp- well as the Nine Dresses (1956), in- clear glass, while Will Alsop’s ves- tures,Venice “Return Biennale. to AmongOrigins: the Homage works to on spired by the rings of water produced Roberto Capucci: Art into Fash- sels were designed to fit inside a rigid Florence,” from 2007. polychrome stereometric container. by tossing a stone. His box silhouette— 28/ Fall 2010 Newsletter of the Decorative Arts Society, Inc. ion is organized with the Fondazione Virginia were blown-molded before the vase Roberto Capucci in Florence and will Cameo Performances: Masterpieces of Cameo Glass from the Northwood’s Milton Vase, a The exhibition catalog, Roberto Chrysler’s Collection high-neckwas carved. vase with handles, is blown, Capucci:be seen only Art into in Philadelphia. Fashion, is by organiz- Chrysler Museum of Art transparent blue glass cased with ing curator Dilys Blum Norfolk, VA opaque white cameo, carved in high The exhibition is funded in part by www.chrysler.com relief with images based on Milton’s . Through July 1, 2011 Cameo Performances explores Whartonthe Pew Charitable Esherick Trusts.and the Birth of the history of cameo glass from ancient six-winged”Paradise Lost” angel of Raphael Adam and on Evethe otherin the the American Modern Roman examples through the resur- Garden of Eden on one side and the Van Pelt-Dietric Library & gence of the technique in England in Fisher Fine Arts Library/ Cheersside. to Queen Victoria! British University of Pennsylvania Glass from the Chrysler Philadelphia, PA the late 19th century. The 38 objects Collection www.library.upenn.edu Victorian,each reflect Asian, a different and contemporary influence—neo- Chrysler Museum of Art Through February 13, 2011 classicism, classic Roman and Greek, Norfolk, VA This retrospective features about www.chrysler.org 275 artifacts, from bookplates to themes. Through February 2011 bedroom sets, that show how Whar- ton Esherick evolved into a custom complements This selection London of 50 Calling: glass objects For decades, Esherick focused Victorianmade in Britain Paintings from from1837–1901 the Royal furniture-maker. Holloway Collection landscapes and portraits, and designed decorative styles during this period, on painting Cubist and Impressionist . The range of adapted his afcted drawing style and and the advancement of technolo- oddprinters, perspectives posters andto chairs, theater desks sets. , He giesfrom caused Gothic anrevival explosion to Art of Nouveau, output in British glass manufacturing, resulting in a wide variety of glasses for eating, tablesEsherick and bookcases modeled only furniture in his legs40s, drinking and decorating the Victorian afterbeginning crisscrossed around bones,1940. created canti- “Intruders,” cameo glass plaque, ca. 1893. George Woodall (English, 1850–1925) and Decorative styles range from He built his home, which is now the Thomas Woodall (English, 1849–1926), home. Whartonlevered tops Esherick and hid Museum drawers in(Paoli, curves. Thomas Webb & Sons. much of the glass collection came from PA) of stone, tinted stucco and oak theGothic lifelong Revival collecting to Art Nouveau. pursuits ofWhile glass in which the surface is cut away Walter Chrysler Cameo, broadly defined, is any Comfort Tiffany in 1931), the collec- shapedplanks. bedside table, a padouk used hand-cutting tools, similar to tion now includes (who contemporary met Louis artists Victrola In the cabinet exhibition built arefor thea pyramid- owner of a thoseto leave used a design by sculptors, in relief. to Carvers cut away such as Howard Ben Tré, Harvey K. Philadelphia valve-making factory, and the unwanted portion of the glass and Littleton, William Morris and Lino a ridged padouk headboard carved for Tagliapietra photographer Marjorie Content’s New The reign of Queen Victoria (1837– create their designs. Wheel-cutting and . Other Esherick works will be on hydrofluoric acid were also used. Since displayYork City in apartment. the coming months, includ- wheel-cuttingthe late 1800s, and artists hand-sculpturing have preferred for The1901) design was aof golden glass, bothage of unique industrial and ing a faceted sconce and walnut radio to use hydrofluoric acid, reserving massand commercial produced, wasexpansion regarded in Britain.as an cabinet with cantilevered countertop, Cameo Performances includes essential part of the decorative vocabu- Georgefinishing and and Thomas details. Woodall’s cameo lary, and the British were eager to gain scholar Curtis Bok, at the Philadelphia George Museumnext to an of oak Art; fireplace the Fischer built family’s for legal Woodall succeeded in creating the illu- This exhibition focuses on that walnut folding screen inlaid with ebony glasssion of plaque perspective “Intruders”— in a shallow space worldwide pre-eminence. birds at the Museum of Fine Arts, (the distance between the rim and the several developments affected the Boston; and woodcuts, stools, and a growthquest. Throughout and reputation Victoria’s of the reign,British ribbed walnut music cabinet made for The Dragon Vase is a Thomas glass industry—the abolition of taxes, a concertmaster of the Philadelphia backWebb is blue-and-white less than inch). cameo glass in technological advancements in glass- Orchestra at Moderne Gallery (Phila- Chinese taste—the two dragons that making, advent of international exposi- encircle the vase are in unusually high tions, and growing consumer market relief because their overall shapes delphia, PA). for finished goods. Fall 2010 Newsletter of the Decorative Arts Society, Inc./29 American Quilts: Selections from the tion and design of quilts, including Winterthur Collection international trade, the development of Virginia Museum of Fine Arts the American textile industry, and the Feenan’s(2007–09). red Inspiration and white stripedlooks at goblet, both Richmond, VA global circulation of images, patterns neo-nostalgic subjects, including Gabe www.vmfa.org masks such as Lynda Benglis’s Tribal Through January 2, 2011 reveal more about du Pont and the Ode to the ColonelMarcus (2010), Amerman and glass ’s This exhibition features quilts and artistic ideas. Outside galleries and Preston Singletary from the collection of furniture, fabrics, An illustrated catalog, Quilts in a Chief (2010) and quilts and decorative arts collected by WinterthurMaterial World collection., accompanies the exhi- All of the works in Fertile’s Goes Ground to War Henry Francis du Pont (2010). and displayed in period room settings and most of the 33 objects are on dis- of the Winterthur Country (1880–1969) Museum bition. Washington were created between 2007 and 2010, and Estate Fertile Ground: Recent Masterworks from the Visiting Artist Residency play for the firstWisconsin time. (Winterthur, DE). It is the Program European Design Since 1985: first time that this selection of more Museum of Glass Shaping the New Century than 40 quilts are traveling, for a Tacoma, WA Milwaukee Museum of Art strictly limited period. www.museumofglass.org Milwaukee, WI Through October 16, 2011 www.mam.org The Museum of Glass introduces Through January 9, 2011 a new exhibition featuring an eclectic body of work created by Visiting Art- Fertile art, craftMore and than design, 200 contemporary and celebrate Ground: Recent Masterworks from theobjects technical that blur innovations the line between and artistic fine theists Visitingin the museum’s Artist Residency Hot Shop. Program creativity of their designers, are on showcases 33 works made in the Hot Shop by artists from around the world with the assistance of the Hot Shop view. Objects both familiar and surreal define Europe’s role in design in the Artists who participate in the Visit- period1980s andof social 1990s. and political transi- Appliqué quilt center, cotton, 40 ½ x 40 Team.ing Artist Residency Program range tion Theto Europe late 20th that century included brought the fall a of ¾ inches. Sarah Furman Warner Williams from emerging to world-renowned and the Berlin Wall, downfall of the Soviet of New York, NY between 1810 and 1830. from artists who have never before Union and redrawing of the European Courtesy Winterthur; bequest of Henry worked with glass to masters of the Francis DuPont. The exhibition is organized around Fertile Ground is organized twomap. major tendencies: designers who quilts were selected for their artistic medium. Dating from the 1700s to 1850, the around four major themes: imagi- renew a “Modern” tradition and those nation, perception, navigation and significance and their importance as Modern designers approach design Whitework, appliqué, whole cloth, who continue a “Postmodern” attitude. pieced,artifacts embroidered of early American and stenciled culture. inspiration. Objects present these Postmodern designers embrace objects quilts are all featured, as well as cush- depicttraditional enchanted themes worlds, in a new from light. Rich - thatrationally, can be producing purely conceptual, functional highly objects. ion and dressing table covers, sam- ard Meitner“Imagination”’s Sorcerer’s includes Apprentice works that exemplify an ongoing dispute—What is The centerpiece is the only known thedecorative leading or design kitsch. principle, The two function camps Americanplers, and examplea quilted featuringpetticoat. a family “Perception”I (2010), which delves pays into homage subthemes to the of or artistic concept? coat of arms—a stuffed whitework children’s story of the same name.Benja - To designers with a Modernist quilt stitched in 1815 by 23-year-old min Cobb’s abstract Visceral Stomach spirit, like the “form follows function” Mary Remington in preparation for meditation and illumination. design comes from the integration of Using historical research and letters while(2010) John looks Kiley at how internal organs - use,school materials of the 1920s and process; Bauhaus, their good her marriage to a local ship captain. - tratescan inspired how glass something serves asso arefined, lens that designs are usually for mass produc- tion reveals the family relationships, ’s Push (2010) illus friendships,between her education, and her fiancé, books the and exhibi “Navigation” looks at contempo- - politics that shaped a young woman in canrary magnify society throughthe viewer’s works vision. such as tion. Modernism is further divided - includeinto “Geometric cookware, Minimal,” Marc Newson “Biomor’s ture of a vintage Airstream trailer; phic” and “Neo-Pop” sections. Designs throughearly America. six different galleries, tracing andSilver Marvin Loaf (2010), Lipofsky Alex’s TacomaStisser’s Series sculp The exhibition flows progressively- amoeboidPostmodernism chairs and is IKEA’s divided watering into cans. the influences that shaped the produc 30/ Fall 2010 2001-9 #1 (Berkeley to Tacoma I–5) Newsletter of the Decorative Arts Society, Inc. “Decorative,” “Expressive,” “Concep- Gottfried Aust Ceramics - tion highlight the work of contempo- Decorative” categories, with objects influenced) by . Aust - . The 37 pieces in the exhibi rangingtual,” “Neo-Dada/Surreal” from Ron Arad’s punkish and “Neo- many,(American, who laterb. Germany, found a 1722–88) home in the was crushed metal chairs to Tord Boontje’s Northa master Carolina potter Moravian trained in missionary Saxony, Ger Studiorary Israeli Glass: artists. Anna and Joe Mendel Collection The exhibition is organized by the The slip-decorated earthenware, Montreal Museum of Fine Arts Indianapolisflower confection Museum lamps. of Art - althoughsettlement. utilitarian, was considered supe- Montreal, Canada Denver Art Museum rior to the pottery of the early American www.mbam.qc.ca (Denver, CO) in conjunction with (India missionary settlement; represented the Through January 30, 2011 napolis, IN) and religious beliefs for which their makers The show offers a comprehensive and curated by R. Craig Miller of the had once been persecuted; and let the survey of international art glass, with IndianapolisKingston University Museum (London, of Art. England), settlers maintain a sense of cultural iden- a focus on sculptural pieces by Harvey K. Littleton, Dominick Lagino and Art in Clay: Masterworks of North Marvin Kipofsky Carolina Earthenware tityhalf in are the on new loan world. from Old Salem Mu- Milwaukee Museum of Art seums Items and include Gardens 120 (Winston-Salem, pieces; about 100% SILK—The .Story of Chinese Silk Milwaukee, WI NC), near the Moravian workshops, Espoo Museum of Modern Art www.mam.org where North Carolina’s 18th-century Emoo, Finland Through January 17, 2011 immigrant potters developed signature www.emma.museum styles: from England used No closing date sunburst motifs on red backgrounds; The cultivation of silk was one of ancient China’s most important known for polka dots and stripes on achievements, and continues to play a blackGerman vessels; Lutherans Moravians and Calvinists from Bohe were- exhibition introduces visitors to the of turtles and owls, and painted profound role in Chinese culture. The pomegranatesmia made green and flasks lilies in with the shapesreligious - historyered a sacred of silk. insect capable of uniting All of the items on display were In China, the silkworm was consid symbolism. - years ago, people began to protect and tions continue at the Moravia breedheaven silkworms, and earth. andMore to than make 5,000 a variety made near Greensboro, NC. Excava of products out of the silk that they Art in Clay is co-sponsored by workshopthe Chipstone sites. Foundation and Old manufacture was preserved in China Salem Museums and Gardens, North asproduce. a closely For guarded thousands state of secret years, andsilk Sugar Pot, lead-glazed earthenware. 10 in. high. Alamance County, NC, 1790–1800. Cour- by Luke Beckerdite, an authority on before being secularized and becom- tesy Old Salem Museums & Gardens. Photo: AmericanCarolina. The decorative exhibition arts; is Johannacurated ingthe aprerogative source of livelihood, of the Imperial a luxury court, and Gavin Ashworth. Brown, curator of Moravian arts, Old export product, and a tool of diplomacy Slipware, sculptural bottles, Salem Museums and Gardens; and faience and creamware are all part of Rob Hunter, editor of Ceramics in the artistic legacy of North Carolina’s America Milwau- and Thepolitics. exhibition “Sericulture” includes only more reached than kee Art Museum by Ethan Lasser Europe in the sixth century. last half of the 18th century, artisans of and Claudia. It is Arzenoorganized of atthe the Chipstone of Chinese silk: silk fabric from the Europeanfirst earthenware descent potters. introduced During a variety the Foundation 100 textiles, spanning the entire story of old-world ceramic traditions to the phoenixes from the Period of the War- International. ringNeolithic States, Era; who Jin fought silk with for dragonsthe control and and cooking vessels with to sophisti- From the Melting Pot into the Fire of the Yangtze River; different styles Carolina backcountry. From storage Gardiner Museum of Han and Tang-dynasty silk textiles Asian and European overtones, the Toronto, Ontario, Canada from various places along the Silk workcated ofornamental these artisans ware was with as Islamic, diverse www.gardinermuseum.on.ca Road; works produced during the Ming Through May 9, 2011 - Art in Clay This collection of ceramic works by tile factories on the lower Yangtze; and objectsas the culture and explores, it helped among sustain. others, and Qing dynasties by the Imperial tex work related to featuresthe multi-generational more than 150 by the Ceramics Artists Association are silk evening dresses from several ofIsraeli Israel artists at the was Eretz originally Israel presentedMuseum some modern silk garments. On display in France, and by Moravian immi- Celebrations and wild-silk creations by grantLoy family potters tradition, who were which trained originated (or of the Fourth Biennale for Israeli decades of Finnish Independence Day (Tel Aviv, Israel) in 2007 and was part Finnish designers and dressmakers. Fall 2010 Newsletter of the Decorative Arts Society, Inc./31 DAS Contribution

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32/ Fall 2010 Newsletter of the Decorative Arts Society, Inc. Contributions

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Student $20 President’s Circle Judith F. Hernstadt Regular $35 Robert L. McNeil, Jr.* Anne E. Hough Institutions & Libraries $40 Stewart G. Rosenblum, Esq. Katherine Howe Sustaining $60 Hoyte Johnson, Jr. Patron $100–$499 Phillip M. Johnston Benefactor $500–$14,999 Benefactors Elizabeth De Rosa Ronald S. Kane President’s Circle $15,000 Wendy Kaplan and above Oscar P. Fitzgerald, IV Sarah C. Nichols Patricia C. Kubicek Lynn Springer Roberts Thomas S. Michie Francine Coffey Morin Contribution checks should be made pay- Mrs. Milo Naeve able to “Decorative Arts Society, Inc.” and Patrons Charles J. Robertson III mailed to: Anonymous William H. Rutledge Decorative Arts Society, Inc. Royanne Chipps Bailey Guy Lacy Schless c/o Stewart G. Rosenblum, Treasurer David L. Barquist Jeanne Sloane 333 East 69th Street, #8E Elizabeth Bidwell Susan Solny New York, NY 10021 W. Scott Braznell & Patricia E. Kane Joseph P. Spang Ellen Bruck Elizabeth E. Thaler Dalva Brothers, Inc. Andrew Van Styn David W. Dangremond Charles L. Venable Claire Edersheim Daniel Visnich Nancy G. Evans Gerald W.R. & Barbara M. Ward Firestone and Parson, Inc. Gail C. Winkler Jorie L. Friedman Yale University Art Gallery, Anne K. Groves American Decorative Arts David A. Hanks Jeannette M. Harper * Deceased.

Incense burner in the shape of a dove, cloisonné enamel on copper alloy, 6 2/3 x 7 3/8 x 3 1/2 in. Qianlong period, 1923, second half of the 18th century. Musée des Arts décoratifs. Gift of David David-Weill. See Exhibitions, Bard Graduate Center, New York, NY. Decorative Arts Society Pictorial quilt, hand- stitched ca. 1985–98 by a for- mer slave. See News, Boston Museum of Fine Arts, Boston, MA. PAID Rochester, NY Rochester, Permit No. 212 Permit No. First-Class Mail First-Class U.S. POSTAGE U.S.

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Volume 18, Number 2 Volume Number 18, newsletter fall 2010 DATED Decorative Arts Society Arts Decorative Secretary c/o Lindsy R. Parrott, Collection Neustadt of 11101 Long IslandNY City,