DOCSLIB.ORG

Oral History Interview with Rudy Autio, 1983 October 10-1984 January 28

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Oral History Interview with Rudy Autio, 1983 October 10-1984 January 28 Oral history interview with Rudy Autio, 1983 October 10-1984 January 28 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview ORAL HISTORY INTERVIEW WITH RUDY AUTIO IN MISSOULA, MONTANA AND SEATTLE, WASHINGTON OCTOBER 10 & 12, 1983; JANUARY 28, 1984 LAMAR HARRINGTON, INTERVIEWER RA: RUDY AUTIO LH: LAMAR HARRINGTON LH: I'm speaking to Rudy Autio in his studio in Missoula, Montana, and I wanted to say, Rudy, that this is about my third trip to Missoula. I've always been so favorably impressed with the place; there's almost a kind of a romanticism, as far as I'm concerned, about the landscape. When I opened the curtains this afternoon, the yellow trees were so dazzling I could hardly believe it, when the sun came out this afternoon. RA: It's been fantastic. LH: And the campus is so beautiful. RA: Um hmm. LH: And Turner Hall, where I'm staying, is, as Don Bunse [printmaker, faculty, University of Montana] called it last night, spare, as far as the furnishings go. But it's one of the most comfortable places I've ever stayed, and I feel so good in it. RA: (laughs) Ah, good. LH: I have a six-foot bathtub, can you believe it? RA: Really!? LH: Right. Which is kind of unusual today, except for certain specialized bathrooms. RA: Well, it's pleasantly camp, I think. (laughs) LH: (laughs) Well, I just think it's wonderful. I'm enjoying this place a lot. RA: Yeah. LH: I was thinking as I enjoy it a lot, about how you came to Missoula over 25ÿyears ago, and I just wonder, before we get into the beginning of your life, actually, if you think you made the right decision? RA: Well, I think so. Of course, I have to stand by that now. LH: (laughs) RA: I really have enjoyed Missoula in all the years that I've been here, since I started the ceramics department here in 1957. I've seen so many good students go through the program, and I've remained good friends with them over the years, which is kind of interesting. I still keep in touch with many of them; not all of them, of course, but especially the graduate students have been very nice to know over the years and maintain contact with. A lot of them have done well, and I think they've all done well. It's just that some have become luminaries in the field and others haven't. But it's been a very worthwhile 25years. LH: I was also thinking about your own work during that time. RA: Well, having left the Bray's [Bray's and Archie Bray's refer to the Archie Bray Foundation throughout the interview], I became centered on making ceramic objects, sculpture, and vessel-making. Part of that time, I dealt primarily with murals and reliefs for buildings and that kind of thing. So there was a kind of a change in the direction and thrust of my work; that's true. LH: As far as the university here, your having been here these 25ÿyears, do you feel like you've had a lot of freedom to do what you felt was right for you? RA: I think so. Of course when I came to Montana, at the huge salary of $5,000 a year, you know, I knew could pocket half of that money and save it. And then also do my work. Compared to the Bray Foundationÿ-- which was a situation where you worked from sun to sunÿ-- teaching was a snap. And you had your summers off and you had weekends and things like that, that seemed like an awful lot of time to work. I think that if you compare Montana to some of the larger universities, we really have very heavy teaching loads. But I've never known anything else, so I still think it's all right. You know, I hear of schools where the professors teach two days a week and things like that, and I've never known that kind of an experience. We've always worked every day with heavy teaching schedules. But other than that, the university does provide a kind of an atmosphere where one is allowed to work. Now I don't think that you could find it anywhere else. It's the patron of our time, you know. It has given me the freedom to pursue my ideas the way I felt I wanted to do it. I think that if I'd stayed at Bray's and continued to do ceramic tiles and commissions for buildings, it's very likely the work would have been of a different kind over the years. Commercial art, if you want to call it, to some extent. Where you're forced to make a living, you have to know where the next buck is coming from. And the atmosphere at the university has certainly helped me do the things I've wanted to do, or the things that I have done. LH: Going back to the very beginning: I was reading that you were bornÿ-- is it Arne? RA: It's Arne [pronounced Arnie] Rudolf Autio, officially. LH: A-R-N-E, R-U-D-O-L-F. RA: That's right. LH: Autio. RA: Um hmm. LH: On October 8, 1926. RA: Um hmm. LH: So I can say, "Happy Birthday," can't I? RA: Yes. As a matter of fact, I just turned 57. LH: Did you have a party yesterday? RA: Yes, sort of. There were a lot of people around, and I got a lemon pie, which I very much like, instead of cake. (chuckles) One candle. And, actually on my birthday, Lela [RA's wife--Ed.] and I went to Flathead Lake where I have a cabin, and we sailed the boat a little and drained the water lines, and all that old stuff with winter coming and everything. And, so my birthday was kind of sedate, kind of quiet, but they celebrated my birthday yesterday, which was on the 9th. LH: Oh, I see, this is the 10th, that's right. RA: Right. LH: You were born in Butte, Montana? RA: Um hmm. LH: I remember going through Butte once a very long, long time ago, and I thought it seemed like a very different looking place, to me. I was very young at the time. RA: That's a kind thing to say. That it's different. (laughter) LH: Well, it looked very foreign to me. It's been many, many years ago. I was a child, and I don't remember it too well, but could you describe Butte? RA: Well, the Butte that I knew was a very interesting busy, bustling place. It was, when I think back as a child growing up in Butte in the thirties and early forties, no mainly the thirties, it was just like living in Brooklyn. It was an interesting, busy city. And very dense with humanity. You have to think of Butte as a bustling mining camp that has been going now for about a hundred years or longer. It was at its peak in the twenties and thirties, and I remember it in the thirties. Or perhaps even earlier than that Butte was sort of an oasis between Minneapolis and the Coast; it was the the big city! With opera, acting companies, the arts, boxing matches, and Lindbergh, and all of those people, you know. The climate and life of the city of Butte was really pretty outstanding at one time. And I can remember places like Park and Main in Butte just dense with people. LH: Now where was this? RA: Park and Main in Butte, Montana. LH: Oh, Park and Main streets? RA: That's right in the center of town. And there were streetcars and automobiles and people and cops, and it was small enough [so that--Ed.] a lot of people knew each otherÿ-- and very ethnic in nature. There were communities; there were the Italians and the Yugoslavians and the Finlanders and the Jewish people and the Cornishmen, and all kinds of ethnic groups that maintained their own cultural identities in their own little colonies around the city. LH: Did they come there precisely to work in the mine? RA: Yeah, this was the immigrant population that came to Butte in the 1900s, on up to about 1920, you could say. The great influx of immigrants. And so they naturally settled in their own colonies, made their own churches, established their own halls and social communities, had their own restaurants, and stores, and yet all of this really melted together in this wonderful crazy city. And the interesting thing was that all of the company headsÿ-- the ACM [Anaconda Copper Mining Company] heads-- were living in the same community, practically next door to the miners, who were down the block. So, they didn't live in New York and clip coupons, but they lived right in the city, in their splendid houses, with servants and everything like that. But the miners were just down the block, a few houses down. It was this kind of mix that made Butte interesting. There's a lot of interesting history about Butte. LH: I've always thoughtÿ-- I haven't read much about it, and I guess I thought of a more rural kind of situation.
Load more

Recommended publications
  • The Sculpture Center 1834 East 123Rd Street Cleveland, Ohio 44106-1910
    THE SCULPTURE CENTER 1834 EAST 123RD STREET CLEVELAND, OHIO 44106-1910 November 15, 2004 Contact: Deirdre Lauer, Director of Exhibitions & Public Programs 216-229-6527 Significant Sculpture Presented in Private Collections Exhibition The Sculpture Center presents Private Collections, December 17, 2004 – January 21, 2005, a rare opportunity to view an exciting display of impressive sculpture culled from Cleveland’s most significant private collections, that includes works by internationally recognized sculptors, members of The Cleveland School and significant local artists. Many of these works have never been publicly exhibited before. The Sculpture Center, best known for its exhibitions of emerging artists, offers Private Collections to place the work of emerging artists in context with an informed look at what are considered more traditional forms. Private Collections will prompt discussion of what makes a lasting artistic impression and what led certain artists to success in their careers. Generous private collectors have loaned two- and three-dimensional works by sculptors with international reputations such as Isamu Noguchi, Claes Oldenburg, Arnaldo Pomodoro and Mark di Suvero, among others, as well as pieces by venerated Cleveland artists such as Viktor Schreckengost, William McVey, Edris Eckhardt and David E. Davis. Collectors have also loaned valuable works by local artists David Deming, Robert Thurmer, Terry Durst, Bruce Biro and Andrew Chakalis. The exhibition will open December 17, 2004 and run through January 21, 2005. The opening night reception will take place December 17 from 5:30 pm – 8:30 pm and will feature a gallery talk by the curator, noted art historian Professor Edward J. Olszewski. The cost for this special reception is $15 per person or $25 per couple.
    [Show full text]
  • Ceramics Monthly Mar05 Cei03
    www.ceramicsmonthly.org Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Ren£e Fairchild assistant editor Jennifer Poellot publisher Rich Guerrein Advertising/Classifieds [email protected] (614) 794-5809 fax: (614) 891-8960 [email protected] (614) 794-5866 advertising manager Steve Hecker advertising services Debbie Plummer Subscriptions/Circulation customer service: (614) 794-5890 [email protected] marketing manager Susan Enderle Design/Production design Paula John graphics David Houghton Editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA Editorial Advisory Board Linda Arbuckle Dick Lehman Don Pilcher Bernie Pucker Tom Turner Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri­ can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add 7% GST (registration number R123994618). back issues: When available, back issues are $6 each, plus $3 shipping/ handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4-6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De­ partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org.
    [Show full text]
  • Persistence-In-Clay.Pdf
    ond th0 classroom THE CERAMICS PROGRAM ATTHE UNIVERSITY OF MONTANA by H. RAFAEL CHACON ontana is known globally as a place for the Autio came to Missoula at the instigation of the Mstudy of modern ceramics, in no small part visionary President McFarland. In 1952, while because of the strengths of its academic institutions. shopping in Helena for bricks for his new campus Ceramics at the University of Montana is a model buildings, McFarland found Autio working at the academic program with an international reputation Archie Bray Foundation. Initially hired to design and a rich history. an architectural mural for the exterior of the new The arts have been a part of the University of Liberal Arts building, Autio eventually accepted Montana's curriculum since the establishment of McFarland's invitation to create a bona fide ceramics the state's flagship educational institution in 1895, program at the university. In fall 1957, Autio began with the first drawing course offered in 1896. Clay throwing, firing, and glazing pots and making first appeared in 1903 as a subject of instruction, sculptures in a retired World War II barracks building alongside the crafts of rug design, lettering, and later the warming hut of the university's Ice book covers, basket weaving, and metallurgy. In Skating Rink below Mt. Sentinel; these were not the 1926, after the retirement of long-time chairman best facilities, but a step up from the soda fountain Frederick D. Schwalm, the crafts were eliminated on the ground floor of the former Student Union from the curriculum only to be restored in 1948 building.
    [Show full text]
  • On the Edge Nceca Seattle 2012 Exhibition Guide
    ON THE EDGE NCECA SEATTLE 2012 EXHIBITION GUIDE There are over 190 exhibitions in the region mounted to coincide with the NCECA conference. We offer excursions, shuttles, and coordinated openings by neighborhood, where possible. Read this document on line or print it out. It is dense with information and we hope it will make your experience in Seattle fulfilling. Questions: [email protected] NCECA Shuttles and Excursions Consider booking excursions or shuttles to explore 2012 NCECA Exhibitions throughout the Seattle region. Excursions are guided and participants ride one bus with a group and leader and make many short stops. Day Dep. Ret. Time Destination/ Route Departure Point Price Time Tue, Mar 27 8:30 am 5:30 pm Tacoma Sheraton Seattle (Union Street side) $99 Tue, Mar 27 8:30 am 5:30 pm Bellingham Sheraton Seattle (Union Street side) $99 Tue, Mar 27 2:00 pm 7:00 pm Bellevue & Kirkland Convention Center $59 Wed, Mar 28 9:00 am 12:45 pm Northwest Seattle Convention Center $39 Wed, Mar 28 1:30 pm 6:15 pm Northeast Seattle Convention Center $39 Wed, Mar 28 9:00 am 6:15 pm Northwest/Northeast Seattle Convention Center $69 combo ticket *All* excursion tickets must be purchased in advance by Tuesday, March 13. Excursions with fewer than 15 riders booked may be cancelled. If cancelled, those holding reservations will be offered their choice of a refund or transfer to another excursion. Overview of shuttles to NCECA exhibitions and CIE openings Shuttles drive planned routes stopping at individual venues or central points in gallery dense areas.
    [Show full text]
  • Bachelor of Science in Art History and Theory Thesis Reframing Tradition
    Bachelor of Science in Art History and Theory Thesis Reframing Tradition in Modern Japanese Ceramics of the Postwar Period Comparison of a Vase by Hamada Shōji and a Jar by Kitaōji Rosanjin Grant Akiyama Submitted in partial satisfaction of the requirement for the degree of Bachelor of Science in Art History and Theory, School of Art and Design Division of Art History New York State College of Ceramics at Alfred University Alfred, New York 2017 Grant Akiyama, BS Dr. Hope Marie Childers, Thesis Advisor Acknowledgements I could not have completed this work without the patience and wisdom of my advisor, Dr. Hope Marie Childers. I thank Dr. Meghen Jones for her insights and expertise; her class on East Asian crafts rekindled my interest in studying Japanese ceramics. Additionally, I am grateful to the entire Division of Art History. I thank Dr. Mary McInnes for the rigorous and unique classroom experience. I thank Dr. Kate Dimitrova for her precision and introduction to art historical methods and theories. I thank Dr. Gerar Edizel for our thought-provoking conversations. I extend gratitude to the libraries at Alfred University and the collections at the Alfred Ceramic Art Museum. They were invaluable resources in this research. I thank the Curator of Collections and Director of Research, Susan Kowalczyk, for access to the museum’s collections and records. I thank family and friends for the support and encouragement they provided these past five years at Alfred University. I could not have made it without them. Following the 1950s, Hamada and Rosanjin were pivotal figures in the discourse of American and Japanese ceramics.
    [Show full text]
  • Annual Report 2005°2006
    "OOVBM3FQPSU ° #PBSEPG5SVTUFFT Roger Hertog, Chair 4FOJPS4UBGG Richard Gilder, Co-Chair, Louise Mirrer Laura Smith Executive Committee President and Chief Executive Officer Senior Vice President for Institutional Nancy Newcomb, Co-Chair, Stephanie Benjamin Advancement and Strategic Initiatives Executive Committee Executive Vice President and Janine Jaquet Chief Operating Officer Vice President for Development and Louise Mirrer, President and CEO Linda S. Ferber Executive Director of the Chairman’s Vice President and Council William Beekman Director of the Museum Andrew Buonpastore Judith Roth Berkowitz Jean W. Ashton Vice President for Operations David Blight Vice President and Director Richard Shein Ric Burns of the Library Chief Financial Officer James Chanos Laura Washington Roy Eddey Craig Cogut Vice President for Communications Director of Museum Administration Elizabeth B. Dater Barbara Knowles Debs 8MJJER]7XYHMSW8VYQTIX'VIITIVWLEHISRQSWEMG 'SZIV9RMHIRXMJMIHTLSXSKVETLIV'EIWEV%7PEZI Joseph A. DiMenna FEWIG+MJXSJ(V)KSR2IYWXEHX (EKYIVVISX]TI'SPPIGXMSRSJXLI2I[=SVO Charles E. Dorkey, III 2 ,MWXSVMGEP7SGMIX]0MFVEV] Henry Louis Gates, Jr. Richard Gelfond Kenneth T. Jackson Joan C. Jakobson David R. Jones Patricia Klingenstein Sidney Lapidus Lewis E. Lehrman Alan Levenstein Glen S. Lewy Tarky Lombardi, Jr. Sarah E. Nash Russell Pennoyer Charles M. Royce Thomas A. Saunders, III Pam B. Schafler Benno C. Schmidt, Jr. Bernard Schwartz Emanuel Stern Ernest Tollerson Sue Ann Weinberg Byron R. Wien Hope Brock Winthrop )POPSBSZ5SVTUFFT Patricia Altschul Leila Hadley Luce 'SPNUIF$P$IBJST Christine Quinn and Betsy Gotbaum, undisputed “first ladies” of New York City government, at our Strawberry Luncheon this year. Lynn Sherr, award-winning correspondent for ABC’s 20/20, spoke eloquently on the origins and significance of the song America the Beautiful and the backgrounds of its authors.
    [Show full text]
  • By Louana M. Lackey by Louana M
    by Louana M. Lackey by Louana M. Lackey With A Foreword by Peter Voulkos Published by The American Ceramic Society 600 North Cleveland Avenue, Suite 210 Westerville, OH 43082 CeramicArtsDaily.org Published by The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, OH 43082 USA http://ceramicartsdaily.org © 2002, 2013 by The American Ceramic Society All rights reserved. ISBN: 1-57498-144-7 (Cloth bound) ISBN: 978-1-57498-541-2 (PDF) No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher, except by a reviewer, who may quote brief passages in review. Authorization to photocopy for internal or personal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, provided that the appropriate fee is paid directly to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923 U.S.A., www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copyright items for general distribution or for advertising or promotional purposes or to republishing items in whole or in part in any work in any format. Requests for special photocopying permission and reprint requests should be directed to Director, Publications, The American Ceramic Society, 600 N. Cleveland Ave., Westerville, Ohio 43082 USA. Every effort has been made to ensure that all the information in this book is accurate.
    [Show full text]
  • Deweese's Legacy
    DeWeese’s Legacy David Dragonfy Wes Mills Neil Parsons Jerry Rankin James Reineking Markus Stangl DeWeese’s Legacy David Dragonfy Wes Mills Neil Parsons Jerry Rankin James Reineking Markus Stangl October 28–December 30, 2006 Holter Museum of Art Helena, Montana DeWeese’s Legacy has been generously underwritten by Miriam Sample, Gennie DeWeese, and the Paul G. Allen Family Foundation. Acknowledgments Two companion exhibitions at the Holter Museum of Art, Robert DeWeese: A Look Ahead and DeWeese’s Legacy, tell a story about modern and contemporary art in Montana and beyond. DeWeese’s Legacy is an homage to Bob DeWeese and to the exchange of energy and ideas that happens in the relationship between student and teacher. Including work by three of Bob’s students (Neil Parsons, Jerry Rankin, and James Reineking) and three of their students (David Dragonfy, Wes Mills, and Markus Stangl), the exhibition refects diverse artistic styles and personal journeys, all fowing from Bob DeWeese’s generosity as teacher and friend. As professor of art at Montana State University in Bozeman from 1949 to 1977, DeWeese, along with other key fgures— Frances Senska, Jessie Wilber, and Bob’s wife Gennie in Boze- man; Rudy and Lela Autio in Missoula; and Isabelle Johnson in Billings—encouraged younger artists to experiment with new ways of seeing and doing and to fnd their own voices. And some of these students became teachers themselves, passing this free- dom and calling on to their own students. Generous support from Miriam Sample, Gennie DeWeese, and the Paul G. Allen Family Foundation made it possible to include important new work by James Reineking and Markus Stangl—who traveled from Germany to create sculptures for the exhibition—and to produce this catalog to document DeWeese’s role as teacher and, more generally, the contributions gifted teach- ers make to artistic development.
    [Show full text]
  • Frances Senska – (1914 - )
    FRANCES SENSKA – (1914 - ) Often called “the mother of Montana art,” ceramic artist Frances Senska has lived a rich life, from her roots in West Africa to her idyllic location on the banks of Bozeman Creek in Montana. Her teaching career spanned over 30 years, and her students include such pivotal artists as Rudy Autio and Peter Voulkos. Also, she was instrumental in the founding of the Archie Bray Foundation, literally helping to lay the bricks of the first pottery. Her work is functional and of the earth – her clays dug locally and her glazes made from natural materials, many of them local as well –and her surface decoration reflects her love of the nature that surrounds her as well as her memories from Africa. Now in her 90’s, she continues to work in her pottery, her pots still in harmony with the earth, as is the potter herself. ARTIST’S STATEMENT – FRANCES SENSKA “I make pots.” 1 “…clay is such a universal medium. Everybody uses it. Kids start working with clay as soon as they can get some in their hands. It’s just such an appealing material to work with. And then if you go on a little further and you make something with it that you like, you can put it in the fire and make it permanent; that’s good too. You don’t have to translate it into something else….You carry through the whole process to the end product yourself.” 2 1. Quoted in: Steven B. Jackson. “Frances Senska – A Biography.” http://www.blackrobin.co.nz/SENSKA/biography.html 2.
    [Show full text]
  • Postercollectioninventory2.Pdf
    CIA ARCHIVES -- POSTER COLLECTION p.1 Last updated 3/2015 Revised lists are posted only when there are significant revisions; you may wish to check with the library staff for the most up-to-date information. COLLECTION SCOPE The Institute Archives collection of CIA posters is incomplete, and most posters date from the 1960s. Flat posters are stored in the flat file, while posters in folded format are usually kept in the publications file. There is duplication between these two collections. This collection contains a new large format items that are not strictly posters. Student Independent Exhibition (S.I.E.) posters and collateral materials have been digitized and are available on Flickr as well as the Institute’s local digital image collection (ARTstor Shared shelf). For help viewing either of these digital archives, please contact the library staff. NOTES: The designation ND means “no date” indicating that there was no year printed on the item, and the library staff was unable to determine the publication year. An index of each drawer and folder is available on the following pages. * * * COLLECTION ACCESS To see a poster, please contact the library staff at least two business days in advance. The staff is not able to pull posters without prior arrangement. All posters must be viewed in the library. * * * SHELVING Unfolded posters are stored in acid free folders in the gray flat file in the store room; for the folded posters in the publications file, SEE ALSO the publications file index. CIA ARCHIVES -- POSTER COLLECTION p.2 Drawer #
    [Show full text]
  • A Finding Aid to the Viktor Schreckengost Papers, 1933-1995, in the Archives of American Art
    A Finding Aid to the Viktor Schreckengost Papers, 1933-1995, in the Archives of American Art Jayna M. Josefson 2018/10/05 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Viktor Schreckengost papers, 1933-1995................................................. 4 Viktor Schreckengost papers AAA.schrvikt Collection Overview Repository: Archives of American Art Title: Viktor Schreckengost papers Identifier: AAA.schrvikt Date: 1933-1995 Creator: Schreckengost, Viktor, 1906- Extent: 0.7 Linear feet Language: English . Summary: The scattered
    [Show full text]
  • The Ceramic Presence in Modern Art: Selections from the Linda Leonard Schlenger Collection and the Yale University Art Gallery September 4, 2015–January 3, 2016
    YA L E U N I V E R S I T Y A R T PRESS For Immediate Release GALLERY RELEASE August 12, 2015 EXHIBITION RE-EXAMINES THE ROLE THAT CLAY HAS PLAYED IN ART MAKING DURING THE SECOND HALF OF THE 20TH CENTURY The Ceramic Presence in Modern Art: Selections from the Linda Leonard Schlenger Collection and the Yale University Art Gallery September 4, 2015–January 3, 2016 August 12, 2015, New Haven, Conn.—Over the last 25 years, Linda Leonard Schlenger has amassed one of the most important collec- tions of contemporary ceramics in the country. The Ceramic Presence in Modern Art features more than 80 carefully selected objects from the Schlenger collection by leading 20th-century artists who have engaged clay as an expressive medium—including Robert Arneson, Hans Coper, Ruth Duckworth, John Mason, Kenneth Price, Lucie Rie, and Peter Voulkos—alongside a broad array of artworks created in clay and other media from the Yale University Art Gallery’s perma- nent collection. Although critically lauded within the studio-craft movement, many ceramic pieces by artists who have continuously or periodically worked in clay are only now coming to be recognized as important John Mason, X-Pot, 1958. Glazed stoneware. Linda Leonard Schlenger Collection. © John Mason and integral contributions to the broader history of modern and contemporary art. By juxtaposing exceptional examples of ceramics with great paintings, sculptures, and works on paper and highlighting the formal, historical, and theoreti- cal affinities among the works on view, this exhibition aims to re-examine the contributions of ceramic artists to 20th- and 21st-century art.
    [Show full text]