COLLECTING TEXTURES: A VISIT WITH TIM AND MARILYN MAST 13 COLLECTING TEXTURES: A VISIT WITHCOLLECTING TIM AND MARILYN TEXTURES:Addie MAST Langford A VISIT WITH TIM AND MARILYN MAST One of the fnest collections of ceramics in Addie Langford Michigan began with a velvet couch. Tim and Addie Langford MarilynOne of theMast fnest sit collections by the freside of ceramics in Bloomfeld in Mich- One of the fnest collections of ceramics in Hills,igan began Michigan, with asurrounded velvet couch. byTim works and Marilyn of art, Michigan began with a velvet couch. Tim and mostlyMast sit ceramic, by the freside mostly in fromBloomfeld the United Hills, MichiStates.- Marilyn Mast sit by the freside in Bloomfeld Theygan, offersurrounded me coffee by works and a of place art, mostly on their ceram peach- Janet Ayako Neuwalder, “Torso”, 15x7x5, 1992. Hills, Michigan, surrounded by works of art, Miloic, mostly Baughman from the designed United States. Thayer They Coggin offer mesofa mostly ceramic, mostly from the United States. c.coffee 1968, and the a place Masts on were their introducedpeach Milo Baugh to mod- - They offer me coffee and a place on their peach Janet Ayako Neuwalder, “Torso”, 15x7x5, 1992. ernman interiors designed by Thayera friend Coggin and interior sofa c.designer, 1968, theMilo Masts Baughman were introduceddesigned Thayerto modern Coggin interiors sofa Susie Milock, whose taste in design encour- byc. 1968,a friend the and Masts interior were designer, introduced Susie toMilock, mod- agedwhoseern interiors the taste Masts’ by in designainterest friend encouraged andin modern interior the forms,designer, Masts’ and ininterestSusie so doing Milock, in modern fung whose openforms, taste the and indoor in design so todoing an encour almostfung- fftyopenaged year thethe door passionMasts’ to aninterest foralmost collecting in ffty modern year works passionforms, of and for art, craft,collectingin so and doing design. works fung of openBut art, Ms. craft,the Milock door and to design.was an almostworking But withMs.ffty anMilock year already passion was workingprimed for collecting withcanvas, an already worksfor the primed of Masts art, eachcanvas,craft, grewand for design. upthe inMasts aBut manner eachMs. Milock grew supportive upwas in workinga man of - art andnerwith creativitysupportive an already whichof primed art and might canvas,creativity explain for which thetheir Mastsmight com - mitmentexplaineach grew theirto arts upcommitment inand a mannereducation to arts supportive andand education their of high art and their high level of participation in Metro De- leveland creativity of participation which might in Metro-Detroit’s explain their com com- - troit’smitment community to arts andcornerstone education institutions. and their Their high munitycollection cornerstone is itself a collective institutions. work of Their art devel collec- - tionlevel is ofitself participation a collective in work Metro-Detroit’s of art developed com- opedmunity organically cornerstone and which institutions. now represents Their collec the- organically and which now represents the couple’stion is itself personal a collective vision work as well of art as developed the pres- This exploration with the Masts is the beginning couple’s personal vision as well as the pres- Janet Ayako Neuwalder, Torso, 15x7x5, 1992. ervationorganically of a andtime whichof radical now transition represents in North the of a research into modern and contemporary ervationAmerican a ceramics time of from radical the transition1960’s to present. in North This exploration with the Masts is the beginning couple’s personal vision as well as the pres- of ceramicsThisa research exploration collections into withmodern the in and MastsMichigan contemporary is the inspired begin - by American ceramics from the 1960’s to present. ervation a time of radical transition in North ceramicsTimning andof a collections Marilynresearch and into in other Michiganmodern collectors. and inspired contempo Families by - American ceramics from the 1960’s to present. Timthatrary and house ceramics Marilyn signifcant collectionsand other ceramic collectors. in Michigan holdings, Families inspired name - thatlyby house MaxineTim and signifcant and Marilyn Stuart andceramic Frankel, other holdings, collectors. Marsha name Famiand- Jef- - ly freyliesMaxine H. that Miro, and house Stuart Rebecca signifcant Frankel, and AlanMarsha ceramic Ross, and holdings, Julie Jef- and freyBobbynamely H. Miro, Taubman, Maxine Rebecca and Joy and Stuart and Alan Allan Ross, Frankel, Nachman, Julie Marsha and and and Jeffrey H. Miro, Rebecca and Alan Ross, BobbyJoyce Taubman, and Myron Joy andM. LaBan, Allan Nachman, continue and to con- Julie and Bobby Taubman, Joy and Allan Nach- Joyce and Myron M. LaBan, continue to con- sistentlyman, and collect/conserveJoyce and Myron M.systems LaBan, andcontinue transi - sistently collect/conserve systems and transi- tionsto consistently of thought collect/conserve in the feld, not systems to mention and the tionsworktransitions of thought each of of thoughtin these the feld, in collectors the not feld, to mention donot to to menthesupport - workprograms,tion each the work of artists, these each collectors and of these institutions docollectors to support that do main to - programs,tainsupport the programs, artists,biosphere and artists, of institutions the and culture institutions that locally, main that- with taintendrilsmaintain the biosphere of the support biosphere of the reaching of culture the culture across locally, locally,with the US/ tendrils of support reaching across the US/ abroad,with tendrils and of in support the case reaching of Marsha across Miro, the theUS/ ac - abroad, and in the case of Marsha Miro, the ac- cretionabroad, ofand signifcant in the case scholarly of Marsha contributions Miro, the ac- as cretion of signifcant scholarly contributions as ancretion author of signifcantand historian scholarly of art contributions and architecture. as anan author author and and historian historian of ofart art and and architecture. architecture. RobertRobert Cooke, Cooke,Robert “Wrapped “WrappedCooke, Wrapped Form”,Form”, Form6x19x8,, 6x19x8, 1973. 1973. 1973. Images courtesy of the artist and Tim and Marilyn Mast. Photography by Marissa Jezak 14

This mid-February morning, from my peach viewing and selecting works of art. Born and velvet perch, I sensed the upward pull of the raised in Grosse Pointe Farms, Michigan, Tim’s ceiling vault and the slow spin of the rice pa- father was a residential builder and his parents’

per fgure twisting from a piece of flament. travels lived on through the works of art they ac- John McQueen, “Gargoyle”, 39x37x4, 1996; wood and plastic ties. This form is one of few fgures among mostly quired for the house. Built in 1939, their family abstract forms. On matte white walls, red, pink, home featured an original Pewabic Pottery tile green andThis orange mid-February fares of morning, color ficker from my amid peach freplace, his guide and of in particular viewing and infuence selecting was works a vase of In addition to forty years at Clark Hill LLC law predominantvelvet earth-tones. perch, I sensed The thehome upward sits atop pull aof thecrafted art. byBorn the andmatriarch raised of in Pewabic Grosse PointePottery, Farms, Mary frm and twenty years as an English teacher in steep hill,ceiling and vaulta glass and wall the facesslow spin southeast of the ricein- paChase- Michigan, Perry Stratton. Tim’s father The was barium a residential blue and build rich- Detroit and librarian at Cranbrook Kingswood School, Tim and Marilyn raised a family (Ash- corporatingper a fgure sheet twisting of snow from and awet piece bark. of Rak flament.- ochre er over and the his highly parents’ textured travels surfaces lived on imprint through- ley Mast, a school teacher and Scott Parker ing lightThis stitched form togetheris one of afew Corbusier fgures among chaise, most ed- Timthe withworks a reverence of art they for acquired the ceramic for the medium, house. Mast, a musician), traveled and collected con- several lyceramic abstract sculptures, forms. On a matte low bench white walls,of art red,specifcally Built in vessels 1939, their which family lead homehim eventually featured anto pink, green and orange fares of color ficker original Pewabic Pottery tile freplace, and of sistently, starting with their frst acquisition: a texts and a steaming cup of coffee in a paper- highly textured abstract sculptural forms. While amid predominant earth-tones. The home particular infuence was a vase crafted by the wooden oval installed vertically on a blue-gray thin porcelain cylinder. The spare modern fur- fnishing a business degree at the University of sits atop a steep hill, and a glass wall faces matriarch of Pewabic Pottery, Mary Chase stone base that Tim admits their friends re- nishings allow the variety of forms to activate Michigan, Tim was studying in the basement cof- southeast incorporating a sheet of snow and Perry Stratton. The barium blue and rich ferred to as a commode seat. Not surprisingly the space in the way that one normally relies fee lounge and was transfxed by laughter in a wet bark. Raking light stitched together a Cor- ochre over the highly textured surfaces im- this work of art is no longer among the Mast’s on wall busiercoverings, chaise, rugs, several family photos, ceramic and sculptures, the distant printed salon. Tim He with rounded a reverence the corner for theto discover ceramic collection having likely been broken (de- lunch boxa lowfamily bench clutter of thatart texts by design and a orsteaming default cup“this medium, stunning, specifcally tall blond across vessels the which room,” lead he himex- accessioned) in one of their several moves. creates of a sense coffee of in place.a paper-thin I was porcelain compelled cylinder. to plained, eventually grinning, to highlywho was textured enjoying abstract the compa sculp-- Though possibly a sore spot for the couple, the note theThe time spare – the modernlight was furnishings so important allow to thethe variny- oftural a mutual forms. friend While at fnishing a travel a abroad business function. degree gentle ribbing of their peers points to the fact experienceety of of forms the textures. to activate 11:25am the space in winter.in the wayThat at was the 1965 University and in of 1966 Michigan, Tim and Tim Marilyn was study wed.- that the Masts were early adopters of mod- that one normally relies on wall coverings, ing in the basement coffee lounge and was ernism, and sculpture for that matter, which rugs, family photos, and the lunch box fam- transfxed by laughter in a distant salon. He has always been logistically inconvenient to I frst metily theclutter Masts that atby Cranbrook design or Academydefault creates of a rounded the corner to discover “this stunning, collect. What frustrates too many collectors Art as ansense MFA ofstudent place. in I was2004. compelled Upon receiving to note the tall blond across the room,” he explained, about three-dimensional work - the weight, the Clarktime Hill LLC – the scholarship light was soin ceramics important (spon to the- ex- grinning, who was enjoying the company of a the mass, the installation, the very objectness The one impossibility in viewing the Mast col- sored byperience Tim Mast’s of thelaw textures.frm), I was 11:25am introduced in winter. mutual friend at a travel abroad function. That of presence - is a delight to Tim and Marilyn lection is for the eye to light on an object without to the couple and a friendship ensued. Marilyn was 1965 and in 1966 Tim and Marilyn wed. Mast, who enjoy the slow process of selecting texture, no matter how subtle. It is like entering Mast, wasI frst raised met the (Marilyn Masts at Parker) Cranbrook in Northern Academy of a space, re-arranging objects, drawing paper a fun-house of texture where you can try on dif- Michigan,Art in as both an BellaireMFA student and Traverse in 2004. City;Upon her receiv - bag patterns and contemplating and design- ferent sensations - infated, slack, taut, scraped, father foundeding the a Clark weekly Hill newspaper LLC scholarship in Bellaire in ceram - ing their own pedestals which they commis- scratched, pierced, and dripped on forms that and wasics a (sponsored newspaper by man Tim Mast’s in Traverse law frm), City. I was sion from a short list of specialty fabricators. bring tension to the skin, and cause the need The creativeintroduced embrace to the of languagecouple and and a friendshipthe infu- en- to bend close to touch. This haptic response, ence of hersued. mother’s Marilyn involvementMast, was raised with a(Marilyn Bellaire Park - The Mast collection has an undeniable sense when sight and touch swap roles, when you of unity without objects looking like one anoth- craft market,er) in theNorthern Winter Michigan, Workshop, in both permeated Bellaire and can touch with the eye, or see with the skin, en- er. It is not a hodge-podge but a collage across the ParkerTraverse home City; and her fatheruncle, founded Oren Parker, a weekly ables sight and skin to join and feel momentarily aesthetics in a contemporaneous genre of ce- a noted newspaperset designer, in Bellairefamiliarized and washer witha newspaper cre- inseparable, as though the body itself turns to ramic art and its next generation - or three. pure texture. Surface in these works is dense ative studioman in processes. Traverse City. In grade The creative school embrace Tim of language and the infuence of her moth- It is collage in that it offers the experience of and sinks deep into the material below the sur- Mast enjoyed painting and sculpting but would er’s involvement with a Bellaire craft market, an inhabitable tapestry as color somehow be- face, since the sensation-shapes involved are pursue a career in law. His studio exploration the Winter Workshop, permeated the Parker comes air-born and forms refect but don’t mir- not about ‘the outermost layer with color on top.’ in painting and sculpture as a young adult cul- Tim & Marilyn Mast

home and her uncle, Oren Parker, a noted set Tim & Marilyn Mast ror one another. Walking into this space feels Rather, surface in these works becomes a tivated indesigner, him an familiarizedappreciation her for with joining creative mate studio- in this respect like a sacred space or experi- matrix or catacomb that invites the project- rial, artisticprocesses. vision andIn grade the visceralschool Tim qualities Mast showed of ence – you can feel the composition of care ed feeling that one can crawl into and hiber- sculpture,enjoyed a skill paintingset which and remains sculpting his but guide would in pur- and quiet mornings - looking. This is confrmed nate, lay eggs, become primitive. Here one sue a career in law. His studio exploration in by the way Tim and Marilyn move through the can begin to say what the power of the Mast painting and sculpture as a young adult culti- space elaborating on stories of each work, collection is, the mark of its authenticity: it vated in him an appreciation for joining mate- biographies of artists, ears of art, changes in is not a pretty or decorative collection of ob- rial mechanics, artistic vision and the visceral the market. Tim touches the work and moves jects; it is, a lot of it, messy, heavy and bru- qualities of sculpture, a skill set which remains quickly, Marilyn is still and offers names, tal work, against a clean expanse of foor, places and dates with tremendous recall. peach velvet couch and soft muted walls. John McQueen, “Gargoyle”, 39x37x4, 1996; wood and plastic ties. 15

This mid-February morning, from my peach his guide in viewing and selecting works of InIn addition toto fortyforty yearsyears atat ClarkClark HillHill LLCLLC lawlaw velvet perch, I sensed the upward pull of the art. Born and raised in Grosse Pointe Farms, frm and twenty years asas an English teacher inin ceiling vault and the slow spin of the rice pa- Michigan, Tim’s father was a residential build- Detroit and librarian at Cranbrook Cranbrook Kingswood per fgure twisting from a piece of flament. er and his parents’ travels lived on through School, TimTim andand Marilyn raisedraised aa family (Ash-- This form is one of few fgures among most- the works of art they acquired for the house. leyley Mast, a a school teacher and Scott Parker ly abstract forms. On matte white walls, red, Built in 1939, their family home featured an Mast, a musician), traveled and collected con-- pink, green and orange fares of color ficker original Pewabic Pottery tile freplace, and of sistently, startingstarting withwith theirtheir frst acquisition: aa amid predominant earth-tones. The home particular infuence was a vase crafted by the wooden ovaloval installed verticallyvertically onon a blue-gray sits atop a steep hill, and a glass wall faces matriarch of Pewabic Pottery, Mary Chase stone base base that that Tim admits their friends re re-- southeast incorporating a sheet of snow and Perry Stratton. The barium blue and rich ferredferred toto as a commode commode seat. Not surprisingly surprisingly wet bark. Raking light stitched together a Cor- ochre over the highly textured surfaces im- thisthis workwork ofof art is no longer among the Mast’s busier chaise, several ceramic sculptures, printed Tim with a reverence for the ceramic collection having having likely likely been been broken broken (deacces (de-- a low bench of art texts and a steaming cup medium, specifcally vessels which lead him sioned)accessioned) in one in of one their of several their severalmoves. Though moves. possibly a sore spot for the couple, the gentle rib- of coffee in a paper-thin porcelain cylinder. eventually to highly textured abstract sculp- Though possibly a sore spot for the couple, the bing of their peers points to the fact that the Masts The spare modern furnishings allow the vari- tural forms. While fnishing a business degree gentle ribbing of their peers points to the fact were early adopters of modernism, and sculp- ety of forms to activate the space in the way at the University of Michigan, Tim was study- that the Masts were early adopters of mod- tureernism, for that and matter, sculpture which for has that always matter, been which lo- that one normally relies on wall coverings, ing in the basement coffee lounge and was gistically inconvenient to collect. What frustrates has always been logistically inconvenient to rugs, family photos, and the lunch box fam- transfxed by laughter in a distant salon. He too many collectors about three-dimensional collect. What frustrates too many collectors ily clutter that by design or default creates a rounded the corner to discover “this stunning, work - the weight, the mass, the installation, the sense of place. I was compelled to note the tall blond across the room,” he explained, about three-dimensional work - the weight, John McQueen, Gargoyle, 39x37x4, 1996; very objectness of presence - is a delight to Tim wood and plastic ties. time – the light was so important to the ex- grinning, who was enjoying the company of a andthe mass,Marilyn the Mast, installation, who enjoy the the very slow objectness process The one impossibility in viewing the Mast col- perience of the textures. 11:25am in winter. mutual friend at a travel abroad function. That of selectingpresence a -space, is a delight re-arranging to Tim objects, and Marilyn draw- lectionThe one is impossibilityfor the eye to in light viewing on an the object Mast without collec- was 1965 and in 1966 Tim and Marilyn wed. ingMast, paper who bag enjoy patterns the slow and process contemplating of selecting and texture,tion is for no the matter eye howto light subtle. on an It isobject like entering without I frst met the Masts at Cranbrook Academy of designinga space, re-arrangingtheir own pedestals objects, which drawing they papercom- atexture, fun-house no matter of texture how where subtle. you It is can like try entering on dif- Art as an MFA student in 2004. Upon receiv- missionbag patterns from a andshort contemplating list of specialty and fabricators. design- ferenta fun-house sensations of texture - infated, where slack, you cantaut, try scraped, on dif- ing the Clark Hill LLC scholarship in ceram- ing their own pedestals which they commis- scratched,ferent sensations pierced, - infated, and dripped slack, ontaut, forms scraped, that ics (sponsored by Tim Mast’s law frm), I was Thesion Mast from collection a short list has of an specialty undeniable fabricators. sense bringscratched, tension pierced, to the andskin, dripped and cause on forms the need that introduced to the couple and a friendship en- of unity without objects looking like one anoth- tobring bend tension close to to the touch. skin, Thisand causehaptic the response, need to sued. Marilyn Mast, was raised (Marilyn Park- er.The It Mastis not collectiona hodge-podge has an but undeniable a collage acrosssense whenbend close sight to and touch. touch This swap haptic roles, response, when when you er) in Northern Michigan, in both Bellaire and aestheticsof unity without in a contemporaneousobjects looking like genre one anoth of ce-- cansight touch and touch with the swap eye, roles, or see when with you the can skin, touch en- Traverse City; her father founded a weekly ramicer. It is art not and a hodge-podge its next generation but a collage - or three. across It ableswith the sight eye, and or skinsee towith join the and skin, feel enables momentarily sight newspaper in Bellaire and was a newspaper isaesthetics collage inin thata contemporaneous it offers the experience genre of of ce an- inseparable,and skin to join as andthough feel the momentarily body itself insepara turns to- man in Traverse City. The creative embrace inhabitableramic art andtapestry its next as color generation somehow - becomes or three. pureble, as texture. though Surface the body in itselfthese turns works to pureis dense tex- of language and the infuence of her moth- air-bornIt is collage and in forms that refectit offers but the don’t experience mirror one of andture. sinks Surface deep in intothese the works material is dense below and the sinks sur- er’s involvement with a Bellaire craft market, another.an inhabitable Walking tapestry into this as space color feels somehow in this bere-- face,deep sinceinto the the material sensation-shapes below the surface, involved since are the Winter Workshop, permeated the Parker spectcomes like air-born a sacred and space forms or experiencerefect but don’t– you mircan- notthe aboutsensation-shapes ‘the outermost involved layer withare notcolor about on top.’ the feel the composition of care and quiet mornings outermost layer with color on top. Rather, sur- home and her uncle, Oren Parker, a noted set Tim & Marilyn Mast ror one another. Walking into this space feels Rather, surface in these works becomes a - looking. This is confrmed by the way Tim and face in these works becomes a matrix or cata- designer, familiarized her with creative studio in this respect like a sacred space or experi- matrix or catacomb that invites the project- Marilyn move through the space elaborating on comb that invites the projected feeling that one processes. In grade school Tim Mast showed ence – you can feel the composition of care ed feeling that one can crawl into and hiber- stories of each work, biographies of artists, years can crawl into and hibernate, lay eggs, become and quiet mornings - looking. This is confrmed nate, lay eggs, become primitive. Here one enjoyed painting and sculpting but would pur- of art, changes in the market. Tim touches the primitive. Here one can begin to say what the by the way Tim and Marilyn move through the can begin to say what the power of the Mast sue a career in law. His studio exploration in work and moves quickly, Marilyn is still and offers power of the Mast collection is, the mark of its space elaborating on stories of each work, painting and sculpture as a young adult culti- names, places and dates with tremendous recall. collectionauthenticity: is, it theis not mark a pretty of itsor decorative authenticity: col it- biographies of artists, ears of art, changes in vated in him an appreciation for joining mate- islection not aof pretty objects; or it decorative is, a lot of collectionit, messy, ofheavy ob- rial mechanics, artistic vision and the visceral the market. Tim touches the work and moves jects;and brutal it is, awork, lot of against it, messy, a clean heavy expanse and bru of- qualities of sculpture, a skill set which remains quickly, Marilyn is still and offers names, talfoor, work, peach against velvet couch a clean and expanse soft muted of walls. foor, places and dates with tremendous recall. peach velvet couch and soft muted walls. Marcia Polenberg, “William Morris”, 18x19x12, 2012. Beth Blahut, “Up and Aweigh”, 14x18x18, 1995; bread and fber.

The removal of information in the presenta- Like making art, being taken by art is re- tion of the works is clearly thought through: vealing. This collection says things that the no stray boots, no T.V. remote. The conversa- Masts may or may not wish for us to under16- tion is between you and this vigorous work. stand, there is a viscera, a daring, a fertility The removal of information in the presentation Liketo the making forms art, with being drips taken of hotby artcolor is revealing. amid moss Theof inherent the works depth is clearly of the thoughtglazed through: surface on no Thistones collection that, after says listening things that to the Tim Masts speak, may re- manystray of boots, the works no T.V. brings remote. layers The of conversa speckle- orveal may a notyearning wish for for us theto understand, making of thereart, foris athe andtion light is betweenrefraction you that and highlight this vigorous fssures, work. im- viscera,experience a daring, of a touching. fertility to the The forms collecting with drips urge purities and tonal variation. Mineral spikes ofseems hot color simultaneously amid moss tones to that, invoke, after satisfy,listening yet bubbleThe inherentfrom two depth 36 inch of the high glazed ceramic surface forms on tofrustrate Tim speak, this reveal compulsion. a yearning In for other the making words, of re - bymany Graham of the Marks works (constructedbrings layers of by speckle Beth Blaand- art,vealing for the it experience as desire of in touching. the strongest The collect sense.- light refraction that highlight fssures, impuri- ing urge seems simultaneously to invoke, satisfy, hut) in the living room; a soaked textile piece ties and tonal variation. Mineral spikes bubble yet frustrate this compulsion. In other words, re- madefrom of two clumps 36 inch of high dried ceramic bread forms dough by wrapped Graham vealingFor Marilyn, it as desire the collectingin the strongest process sense. presents For in Markstextile (constructed with strings by falling Beth Blahut)from the in orbsthe living sits Marilyn,an initial the intuitive collecting response process followed presents by an an ini ana- - Betty Woodman, “Pillow Vase”, 15x24x13, 1980. in room; front a of soaked a mirrored textile corner,piece made the of work clumps looks of tiallytical intuitive weighing response of art followed acquisition by an against analytical other asdried though bread it has dough been wrapped dredged in textile from with a swamp; strings weighingpossibilities. of art acquisitionThis evaluative against process other possi makes- behindfalling the from couch the orbs is an sits infated in front ceramic of a mirrored form bilities.sense This if you evaluative know Marilyn’s process makes patient sense and if dis - bycorner, Betty Woodman the work looks that is as the though shape it of has a Saint been youcerning know nature, Marilyn’s but patient the couple and can discerning also be na dan- - Bernard’sdredged rescuefrom a swamp; canteen; behind the tightness the couch of is the an ture,gerously but the spontaneous. couple can They also besee dangerously it, they like it, druminfated form ceramic is interrupted form by Bettyby layered Woodman drips that that is spontaneous.they acquire They it. But see this it, isthey after like much it, they general ac- becomethe shape blobs of aof Saint glossy Bernard’s grass rescuegreen andcanteen; rust quirestudy it. inBut the this feld is afteras is much evident general in their study library in the tightness of the drum form is interrupted by the feld as is evident in their library and Marilyn with an exposed grid of raw porcelain peeking and Marilyn who, now in retirement, can read layered drips that become blobs of glossy grass who, now in retirement, can read seven books through.green and A Kevin rust with Beasley an exposed acrylic grid disc of is raw stuffed por- inseven a week books and in still a week make and it to still three make or fourit to artthree withcelain street peeking soot andthrough. then A drowned Kevin Beasley in plastic, acrylic a events.or four Though art events. their Though library is their deep, library Tim shared is deep, sortdisc of is vesselstuffed aswith jailer street instead soot and of then cradle, drowned yet withTim me shared the three with seminal me the texts three that solidifed seminal his texts in inconversation plastic, a sort with of vesselhistorical as vessel/cylinder jailer instead of passionthat solidifed for the world his passion of ceramics: for theAmerican world Potof -ce- forms.cradle, Though yet in conversation we have become with historical immune ves to- ters:ramics: The American Work of Twenty Potters: Modern The Work Masters, of Twenty by thesel/cylinder hysterical forms. digital Though chaos wethat have is on become the morn im- GarthModern Clark; Masters, A Century by of GarthCeramics Clark; in the A United Century ingmune news to and the hystericalcommercials, digital moving chaos thatbetween is on Statesof Ceramics 1878-1978, in the by UnitedGarth Clark States1878-1978, and Margie smooththe morning sober news surfaces and commercials,to injurious spikes, moving bebe- Hughto;by Garth and Clark Objects: and Margie USA: Works Hughto; by and Artist- Ob- tweentween wood smooth potter sober browns surfaces and to injurioushysterical spikes, pink Craftsmenjects: USA: in Works Ceramic, by Enamel,Artist-Craftsmen Glass, Metal, in Ce - between wood potter browns and hysterical pink Plastic, Mosaic, Wood, and Fiber, by Lee Nord- Marilyn Mast Paul Kotula, Untitled, each approx. 11x15x2, 1988-1992. puff at the Mast’s home makes texture and ramic, Enamel, Glass, Metal, Plastic, Mosaic, puff at the Mast’s home makes texture and ness. Flipping through the plates of these books, varietyvariety exhilarating exhilarating again. again. It It evokes evokes incidents incidents oneWood, sees and corresponding Fiber, by Leepieces Nordness. and style markFlipping- andand snippets snippets of of experience, experience, the the physical physical- ersthrough on the thewall, plates foor andof theseside table. books, The one collec sees- ityity of ofmaking, making, and and thought thought becomes becomes tangible. tangible. tioncorresponding is studied but piecesfresh, having and styleobvious markers spur of on thethe moment wall, foor game and changing side table. acquisitions. The collection In ad- is ditionstudied to these but fresh, key texts having were obviouslater pivotal spur works of the theymoment saw game and felt changing compelled acquisitions. to acquire, In and addi - thention allowto these time key to catchtexts upwere to thelater work pivotal through works contemplation,they saw and looking, felt compelled and further to acquire, research. and then allow time to catch up to the work through contemplation, looking, and further research.

KevinKevin Beasley,Beaseley, In Case“In Case Your Your Parts... Parts...”,, 6x11x11, 6x11x11, 2010; dirt, 2010; tar, dirt, tar, stickssticks and cast acrylic.acrylic. 17 MarciaMarcia MarciaPolenberg, Polenberg, Polenberg, “William “William “William Morris”, Morris”, Morris”, 18x19x12, 18x19x12, 18x19x12, MarciaMarcia Polenberg,MarciaMarcia Polenberg, Polenberg, Polenberg,“William “William “William Morris”, William Morris”, Morris”, 18x19x12, Morris 18x19x12, 18x19x12,, 18x19x12, BethBeth Blahut,Blahut, Up“Up and and Aweigh Aweigh”,, 14x18x18, 14x18x18, 1995; 1995; bread bread and and fber. fber. 2012.2012.2012. BethBeth Blahut,BethBlahut, Blahut, “Up“Up andand “Up Aweigh”, Aweigh”, and Aweigh”, 14x18x18,14x18x18, 14x18x18, 1995;1995; 1995; breadbread bread andand fber.fber. and fber. 2012.2012.2012.2012. Beth Blahut,Beth Blahut,“Up and “Up Aweigh”, and Aweigh”, 14x18x18, 14x18x18, 1995; bread 1995; and bread fber. and fber. The removal of information in the presenta- Like making art, being taken by art is re- TheThe The removal removal removal of of information information of information in in the the in presenta presentathe presenta-- LikeLike- Like making making making art, art, beingart, being being taken taken taken by by art art by is is art re re is-- re- The removalThetion removal of of information the of works information is in clearly the in presenta the thought presenta- through:Like- makingLike vealing. making art, being This art, collection being taken taken by says art by is things art re- is that re- the tiontion oftion of the the of works worksthe works is is clearly clearly is clearly thought thought thought through: through: through: vealing.vealing. vealing. 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The and conversa this The vigorous conversa- Masts work.- Mastsmaystand, or may may there or not may iswish anot viscera, forwish us for to a daring,underus to -under a fertility- tiontion istion is between between is between you you andyou and andthis this vigorous this vigorous vigorous work. work. work.stand,stand,stand, there there there is is a a isviscera, viscera, a viscera, a a daring, daring, a daring, a a fertility fertility a fertility tion is tion between is between you and you this and vigorous this vigorous work. work.stand, stand, thereto the isthere aforms viscera, is awith viscera, adrips daring, of a daring,hot a fertilitycolor a amid fertility moss toto thetheto forms formsthe forms withwith dripswithdrips drips ofof hothot of color colorhot color amidamid amid mossmoss moss The inherent depth of the glazed surfaceto the on toforms thetones formswith that,drips with afterof drips hot listening ofcolor hot amid color to moss Timamid speak, moss re- TheThe Theinherentinherent inherent depthdepth depth ofof thethe of glazedglazedthe glazed surface surface surface onon ontonestones tones that, that, that, after after after listening listening listening to to Tim Tim to Timspeak, speak, speak, re re-- re- The inherentThemany inherent depth of thedepthof the works ofglazed the brings glazed surface layers surface on of speckle toneson tones that,veal after that, a yearning listening after listening for to the Tim to making speak, Tim speak, of re -art, for re- the manymanymany of of the the of works worksthe works brings brings brings layers layers layers of of speckle speckle of speckle vealveal vealaa yearningyearning a yearning forfor the thefor makingmakingthe making ofof art,art, of forforart, the thefor the many many of theand of workslight the refraction works brings brings layers that highlight layers of speckle of fssures, speckle veal im a- vealyearningexperience a yearning for the offor making touching. the making of art, The offor collectingart, the for the urge andand lightandlight lightrefractionrefraction refraction thatthat highlightthathighlight highlight fssures,fssures, fssures, imim-- imexperienceexperience- experience of of touching. touching. of touching. 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ThisThis This evaluative evaluative evaluative process process process makes makes makes as thoughas though behindit has beenit the has couchdredged been dredgedis froman infated a from swamp; aceramic swamp; possibilities. form possibilities. sense This if youevaluative This know evaluative Marilyn’s process process makes patient makes and dis- behindbehindbehind thethe couchcouchthe couch isis anan is infatedinfated an infated ceramicceramic ceramic formform form sensesense sense if if you you if knowyou know know Marilyn’s Marilyn’s Marilyn’s patient patient patient and and disand dis-- dis- behindbehind theby couch Betty the couch isWoodman an infatedis an that infated ceramic is the ceramic shape form of form asense Saint sense if youcerning if know you nature, Marilyn’sknow but Marilyn’s the patient couple patient and can dis andalso- be dis -dan- byby BettyBettyby Betty WoodmanWoodman Woodman thatthat isthatis thethe is shape shapethe shape ofof aa SaintofSaint a Saint cerningcerning cerning nature, nature, nature, but but the the but couple couple the couple can can also alsocan be alsobe dan dan be-- dan- by Bettyby Woodman BettyBernard’s Woodman that rescue is thatthe canteen; shapeis the shape ofthe a tightnessSaint of a Saintcerning of thecerning nature,gerously nature, but thespontaneous. but couple the couple can They also can besee also dan it, be -they dan like- it, Bernard’sBernard’sBernard’s rescuerescue rescue canteen;canteen; canteen; thethe tightness tightnessthe tightness ofof thethe of thegerouslygerously gerously spontaneous.spontaneous. spontaneous. TheyThey They seesee it,it,see theythey it, they likelike it, it,like it, Bernard’sBernard’s drumrescue formrescue canteen; is interruptedcanteen; the tightness the by tightness layered of the dripsof thegerously thatgerously spontaneous.they acquirespontaneous. Theyit. But see Theythis it, is seethey after it, like theymuch it, like general it, drumdrumdrum formform form isis interruptedinterrupted is interrupted byby layeredlayered by layered dripsdrips drips thatthat thattheythey they acquireacquire acquire it.it. ButBut it. thisthisBut isthisis afterafter is after muchmuch much generalgeneral general drum formdrumbecome is form interrupted is blobs interrupted ofby glossylayered by layeredgrass drips green thatdrips andthatthey rust acquirethey study acquire it. 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A A Kevin Kevin A Kevin Beasley Beasley Beasley acrylic acrylic acrylic disc disc is discis stuffed stuffed is stuffed sevenseven seven books books books in in a a week weekin a week and and still stilland make make still make it it to to three threeit to three through.through. Awith Kevin street A BeasleyKevin soot Beasley acrylicand then acrylic disc drowned is discstuffed is in stuffed plastic,seven a sevenbooks or fourbooksin a weekart in events. a and week still Though and make still their itmake to three library it to three is deep, withwith streetwithstreet street sootsoot soot andand thenandthen then drowneddrowned drowned inin plastic,plastic, in plastic, aa oraor fourfouror artfourart events.events. art events. ThoughThough Though theirtheir their librarylibrary library isis deep,deep, is deep, with streetwithsort sootstreet of and soot vessel then and asdrowned then jailer drowned insteadin plastic, in of plastic, a cradle, or a four yetor art four Timevents. art shared events. Though with Though their me library thetheir three libraryis deep, seminal is deep, texts sortsort ofsort of vessel vessel of vessel as as jailer jailer as jailer instead instead instead of of cradle, cradle, of cradle, yet yet yetTimTim sharedTim shared shared with with with me me the theme three threethe three seminal seminal seminal texts texts texts sort ofsort vessel in of conversation vessel as jailer as instead jailer with instead historical of cradle, of vessel/cylinder cradle, yet yetTim sharedTim that shared with solidifed me with the mehis three passion the seminalthree for seminal the texts world texts of ce- inin conversationconversationin conversation withwith withhistoricalhistorical historical vessel/cylindervessel/cylinder vessel/cylinder thatthat solidifedthatsolidifed solidifed hishis passion passionhis passion forfor thethe for worldworldthe world ofof cece of-- ce- in conversationin conversationforms. with Though historical with we historical have vessel/cylinder become vessel/cylinder immune that solidifed tothat ramics:solidifed his Americanpassion his passion for Potters: the for world Thethe of worldWork ce- of Twentyce- forms.forms.forms. Though Though Though we we have have we have become become become immune immune immune to to toramics:ramics: ramics: American American American Potters:Potters: Potters: TheThe WorkTheWork Work ofof TwentyTwenty of Twenty forms. forms. Thoughthe Thoughhysterical we have we digital become have chaos become immune that is immune on to the ramics: morn to -ramics: AmericanModern American Potters: Masters, Potters: The by Work GarthThe ofWork Twenty Clark; of Twenty A Century thethe hystericalhystericalthe hysterical digitaldigital digital chaoschaos chaos thatthat isthatis onon is thethe on mornmorn the morn-- ModernModern- Modern Masters, Masters, Masters, by by Garth Garth by Garth Clark; Clark; Clark; A A Century Century A Century the hystericalthe hystericaling digitalnews digitalchaosand commercials, chaosthat is thaton the is moving onmorn the- morn betweenModern- Modern Masters,of Ceramics Masters, by Garth in by the Garth Clark; United Clark; A CenturyStates1878-1978, A Century inging newsnewsing news andand commercials,andcommercials, commercials, movingmoving moving betweenbetween between ofof Ceramics Ceramicsof Ceramics in in the the in United Unitedthe United States1878-1978, States1878-1978, States1878-1978, ing newsing smoothandnews commercials, and sober commercials, surfaces moving to moving injurious between between spikes, of Ceramicsbe-of Ceramicsby Garth in the inClark United the and United States1878-1978, Margie States1878-1978, Hughto; and Ob- smoothsmoothsmooth sobersober sober surfacessurfaces surfaces toto injuriousinjurious to injurious spikes,spikes, spikes, bebe-- bebyby- GarthGarthby Garth ClarkClark Clark andand MargieandMargie Margie Hughto;Hughto; Hughto; andand ObandOb-- Ob- smoothsmooth sobertween surfacessober wood surfaces potter to injurious brownsto injurious spikes, and spikes,hysterical be- beby - pinkGarthby GarthClarkjects: andClarkUSA: Margie Worksand Margie Hughto; by Artist-Craftsmen Hughto; and Ob and- Ob in- Ce- tweentweentween woodwood wood potterpotter potter brownsbrowns browns andand hystericalandhysterical hysterical pinkpink pinkjects:jects: jects: USA:USA: USA: WorksWorks Works byby Artist-CraftsmenArtist-Craftsmen by Artist-Craftsmen inin CeCe in-- Ce- Marilyn Mast Paul Kotula, Untitled, each approx. 11x15x2, 1988-1992. tween tweenwood potterwood potterbrowns browns and hysterical and hysterical pink pinkjects: USA:jects: WorksUSA: Works by Artist-Craftsmen by Artist-Craftsmen in Ce- in Ce- MarilynMarilynMarilyn MastMast Mast PaulPaul Kotula,PaulKotula, Kotula, Untitled,Untitled, Untitled, eacheach approx.eachapprox. approx. 11x15x2,11x15x2, 11x15x2, 1988-1992.1988-1992. 1988-1992. puff puff atpuff the at at Mast’sthe the Mast’s Mast’s home home home makes makes makes texture texture texture and and andramic, ramic,ramic, Enamel, Enamel, Enamel, Glass, Glass, Glass, Metal, Metal, Metal, Plastic, Plastic, Plastic, Mosaic, Mosaic, Mosaic, Marilyn MarilynMastMarilyn Mast Mast PaulPaul Kotula, PaulKotula, Kotula,Untitled, Untitled, Untitled, each each approx. eachapprox. approx.11x15x2, 11x15x2, 11x15x2, 1988-1992. 1988-1992. 1988-1992. puff puff atpuff the at at the Mast’s the Mast’s Mast’s home home home makes makes makes texture texture texture and and andramic, ramic, ramic,Enamel, Enamel, Enamel, Glass, Glass, Glass, Metal, Metal, Metal,Plastic, Plastic, Plastic, Mosaic, Mosaic, Mosaic, varietyvarietyvariety exhilarating exhilarating exhilarating again. again. again. It evokes It Itevokes evokes incidents incidents incidents Wood, Wood,Wood, and andFiber, and Fiber, Fiber,by Lee by by LeeNordness. Lee Nordness. Nordness. Flipping Flipping Flipping varietyvarietyvariety exhilarating exhilarating exhilarating again. again. again.It evokes It evokesIt evokes incidents incidents incidents Wood, Wood,Wood, and and Fiber, and Fiber, Fiber,by Leeby byLee Nordness. Lee Nordness. Nordness. Flipping Flipping Flipping and and snippetsand snippets snippets of experience, of of experience, experience, the the physical the physical physical- through- - throughthrough the platesthe the plates plates of these of of these thesebooks, books, books, one onesees one sees sees andand snippetsand snippets snippets of experience, of of experience, experience, the the physical the physical physical- -through- throughthrough the theplates the plates platesof these of ofthese thesebooks, books, books, one one sees one sees sees ity ofity making,ity of of making, making, and andthought and thought thought becomes becomes becomes tangible. tangible. tangible. corresponding correspondingcorresponding pieces pieces pieces and and style and style markersstyle markers markers on on on ity ofity making, ityof ofmaking, making, and and thought and thought thought becomes becomes becomes tangible. tangible. tangible. corresponding correspondingcorresponding pieces pieces pieces and and style and style markers style markers markers on on on the wall,thethe wall, foorwall, foor and foor andside and sidetable. side table. table.The Thecollection The collection collection is is is the thewall,the wall, foor wall, foor and foor and side and side table. side table. Thetable. The collection The collection collection is is is studiedstudiedstudied but fresh,but but fresh, fresh,having having having obvious obvious obvious spur spur ofspur the of of the the studiedstudiedstudied but butfresh, but fresh, fresh,having having having obvious obvious obvious spur spur of spur the of ofthe the momentmomentmoment game game gamechanging changing changing acquisitions. acquisitions. acquisitions. In addi In In addi- addi- - momentmomentmoment game game gamechanging changing changing acquisitions. acquisitions. acquisitions. In addi In Inaddi- addi- - tion totiontion these to to these thesekey textskey key texts weretexts were laterwere later pivotal later pivotal pivotal works works works tion tionto tionthese to theseto keythese keytexts key texts were texts were later were later pivotal later pivotal pivotal works works works theythey sawthey saw and saw and felt and compelled felt felt compelled compelled to acquire, to to acquire, acquire, and and and theythey sawthey saw and saw and felt and felt compelled felt compelled compelled to acquire, to to acquire, acquire, and and and thenthen allowthen allow timeallow time to time catch to to catch catchup to up theup to towork the the work through work through through thenthen allowthen allow time allow time to time catch to catchto upcatch to up the upto worktheto the work through work through through contemplation,contemplation,contemplation, looking, looking, looking, and andfurther and further further research. research. research. contemplation,contemplation,contemplation, looking, looking, looking, and and further and further further research. research. research.

KevinKevin Beaseley,Kevin Beaseley, Beaseley, “In Case “In “In Case YourCase YourParts...”, Your Parts...”, Parts...”, 6x11x11, 6x11x11, 6x11x11, 2010; 2010; dirt,2010; tar,dirt, dirt, tar, tar, KevinKevin Beaseley,Kevin Beaseley, Beaseley, “In Case “In “InCase Your Case Your Parts...”, Your Parts...”, Parts...”, 6x11x11, 6x11x11, 6x11x11, 2010; 2010; dirt, 2010; dirt,tar, dirt, tar, tar, stickssticks andsticks cast and and acrylic.cast cast acrylic. acrylic. stickssticks andsticks castand and castacrylic. cast acrylic. acrylic. 18 Betty Woodman, “Pillow Vase”, 15x24x13, 1980. thought diagram whose paths and openings respond to one another in non-linear ways.

Since retirement in 2005 and 2006, Tim and Marilyn have been able to expand their pas- sions for gardening, cooking, travel and books, passions which are evident throughout the home where book cases and pantries of hand- made pottery are of equal aesthetic interest. Tim’s passion for gardening extends deep into the rolling landscape surrounding the property out of which large sculptural forms emerge as The Cornerstone exhibitions at the DIA between though long an organic part of the landscape. 1968-71 and an exhibition called, Contemporary They are visitors to The Frederik Meijer Gar- Art in Detroit Collections (1982), of approximate- den and Sculpture Park in Grand Rapids, and ly one hundred and ffty internationally esteemed the Marshall Fredericks Museum at Saginaw works of art from Detroit domestic collections, Valley State University, and seek out sculpture made indelible marks on their understanding of parks when they travel such as Storm King Art art and collecting. Tim described the power of Center in New Windsor, New York, Millenni- being able to see into the living room collec- um Park in Chicago, and art parks in Seattle. tions of families across the region and sense This brings me to one of the few concerns the network of appreciation, valuation, and curi- the Masts expressed about the last ten years osity - a movement dedicated to the celebration trending artists away from large-scale outdoor and collection of thought, beauty and culture. art in lieu of installation or social practice which favors the art of interaction and exchange in- So what is it that captures a person’s attention so stead of objects. They are ready to develop completely that they must collect? The motiva- their landscape gallery and fnd themselves tion to collect comes from many directions - love with fewer choices. I thought this might lead to of art, infatuation with material, nostalgia, schol- a concern about the devaluation of the object arship, prestige, investment, preservation - but by collectors but Tim and Marilyn are not wor- the unifying quality that links collectors (of any ried about a shortage of compelling objects in kind) is, in the words of Marilyn Mast, that “it is general, insisting the object market is thriving. not something one decides to do, it is something one can’t help.” In other words, collecting must be a form of compulsion and attraction – not un- like love1. The Masts have built a living library of a section of our culture, like many other collec- tors of note. They have rescued these objects from ‘thought dispersion.’ The collective voices of each of these two hundred plus artists hang together to offer a colloquy or gathering of past and present, with hints of futures yet unknown. The collection captures and embodies the com- plex temporalities of movement and transition from one artistic generation to another, like a 1 André Breton famously said that art – and collecting – John Stephenson, "Twisted Earthscape should only be approached as an act of love. #18", 35x35x24, 1989. 19 BettyBetty Woodman, Woodman, “Pillow Pillow“Pillow Vase”,Vase Vase”,, 15x24x13,15x24x13, 15x24x13, 1980.1980. 1980. thoughtthoughtthought diagram diagram whose whose paths paths and and and openings openings openings respondrespondrespond to to to one one another another in in non-linear non-linear non-linear ways. ways. ways.

SinceSince retirement retirement in inin 2005 2005 and and 2006, 2006, Tim Tim andand MarilynMarilyn have have beenbeen been able able able to to expandto expand expand their their their passions pas pas-- sionsforsions gardening, for for gardening, gardening, cooking, cooking, cooking, travel travel travel and and books, and books, books, pas - passionssionspassions which which which are are evident are evident evident throughout throughout throughout the home the the homewherehome where where book book casesbook cases cases and and pantries and pantries pantries of handmade of of hand hand-- madepotterymade pottery potteryare of equalare are of ofaesthetic equal equal aesthetic aestheticinterest. Tim’sinterest. interest. pas - Tim’ssionTim’s forpassion passion gardening for for gardening gardening extends deep extends extends into deep thedeep rolling into into thelandscapethe rolling rolling landscape surroundinglandscape surrounding surrounding the property the the out property propertyof which large sculptural forms emerge as though long an outout of of which which large large sculptural sculptural forms forms emerge emerge as as organic part of the landscape. They are visitors thoughthough long long an an organic organic part part of of the the landscape. landscape. TheThe Cornerstone Cornerstone exhibitionsexhibitions exhibitions at at the the DIA DIA between between to The Frederik Meijer Garden and Sculpture TheyThey are are visitors visitors to to The The Frederik Frederik Meijer Meijer Gar Gar-- 1968-711968-71 and andand an anan exhibition exhibitionexhibition called,called, called, Contemporary Contemporary Park in Grand Rapids, and the Marshall Freder- ArtArt in in Detroit Detroit Collections CollectionsCollections (1982),(1982), (1982), of of approximate approximate--- denicksden and Museumand Sculpture Sculpture at Saginaw Park Park in Valleyin Grand Grand State Rapids, Rapids, University, and and lyly one one hundred hundred and andand fftyffty ffty internationallyinternationally internationally esteemed esteemed theandthe Marshall Marshallseek out Fredericks Frederickssculpture parksMuseum Museum when at at theySaginaw Saginaw travel worksworks of ofof art artart from fromfrom Detroit DetroitDetroit domestic domesticdomestic collections,collections, ValleysuchValley as State State Storm University, University, King Art andCenter and seek seek in outNew out sculpture sculpture Windsor, mademade indelible indelible indelible marks marks marks on on on their their their understanding understanding understanding of of parksNewparks York,when when Millennium they they travel travel Parksuch such inas as Chicago, Storm Storm King King and Art Artart artofart artandand and collecting.collecting. collecting. TimTim Tim describeddescribed described thethe the powerpower power of of CenterparksCenter in in in Seattle. New New Windsor, Windsor,This brings New New me York,York, to one MillenniMillenni of the-- beingofbeing being able able able to to to see see see into intointo the thethe livingliving roomroom room collec collec collec--- umfewum Park Park concerns in in Chicago, Chicago, the Masts and and art expressedart parks parks in in about Seattle. Seattle. the tionstions of of families families families across across across the the the region region region and and andsense sense sense the ThislastThis ten brings brings years me me trending to to one one artists of of the the away few few from concerns concerns large- thenetworkthe network network of appreciation,of of appreciation, appreciation, valuation, valuation, valuation, and and and curios curi curi--- thescalethe Masts Masts outdoor expressed expressed art in lieu about about of installation the the last last ten ten or years socialyears osityityosity - - a -a a movementmovement movement dedicateddedicated dedicated toto to thethe the celebration celebration trendingpracticetrending artists whichartists awayfavors away from fromthe artlarge-scale large-scale of interaction outdoor outdoor and andand collection collection of of of thought, thought, thought, beauty beauty and and culture. culture. artexchangeart in in lieu lieu of ofinstead installation installation of objects. or or social social They practice practice are ready which which to favorsdevelopfavors the the their art art landscapeof of interaction interaction gallery and and andexchange exchange fnd them in in-- SoSo what what is isis it itit that thatthat captures capturescaptures aa a person’sperson’s person’s attention attention soso so steadselvesstead of ofwith objects. objects. fewer Theychoices. They are are I ready thoughtready to to thisdevelop develop might completelycompletely that thatthat they theythey must mustmust collect? collect? The The motiva-motiva motiva- - theirleadtheir landscapeto landscape a concern gallery gallery about andthe and devaluation fnd fnd themselves themselves of the tiontion to to collect collectcollect comes comescomes fromfrom from manymany many directions directions -- -lovelove love withobjectwith fewer fewer by collectors choices. choices. I but Ithought thought Tim and this this Marilyn might might lead arelead notto to ofof art, art, infatuation infatuation with withwith material, material,material, nostalgia, nostalgia, schol-schol schol- - aworrieda concern concern about about about a shortagethe the devaluation devaluation of compelling of of the the objectobjects object arship,arship, prestige, prestige,prestige, investment, investment,investment, preservation preservation -- -butbut but byinby general,collectors collectors insisting but but Tim Tim the and and object Marilyn Marilyn market are are is not notthriving. wor wor-- thethe unifyingunifying quality qualityquality that thatthat links linkslinks collectors collectors (of(of (of anyany any riedried about about a a shortage shortage of of compelling compelling objects objects in in kind) is, in the words of Marilyn Mast, that “it is John Stephenson, Twisted Earthscape #18, kind)kind) is, is, in in the the words words of of Marilyn Marilyn Mast, Mast, that that “it “it is is general,general, insisting insisting the the object object market market is is thriving. thriving. not something one decides to do, it is something 35x35x24, 1989. notnot something something one one decides decides to to do, do, it it is is something something one can’t help.” In other words, collecting must oneone can’t can’t help.” help.” In In other other words, words, collecting collecting must must be a form of compulsion and attraction – not un- be a form of compulsion and attraction – not un- likebe a love form1. Theof compulsion Masts have and built attraction a living library – not unof - like love1.1 The Masts have built a living library of alike section love . ofThe our Masts culture, have like built many a living other library collec- of atorsa section section of note. of of our ourThey culture, culture, have like rescuedlike many many these other other objects collec collec- - torsfromtors of of‘thought note.note. They Theydispersion.’ havehave rescued rescuedThe collective these these objects voicesobjects fromoffrom each ‘thought ‘thought of these dispersion.’ dispersion.’ two hundred The The pluscollective collective artists voices voiceshang oftogetherof each each of ofto these theseoffer atwo two colloquy hundred hundred or gatheringplus plus artists artists of hang pasthang togetherandtogether present, to to offer offer with a a hintscolloquy colloquy of futures or or gathering gathering yet unknown. of of past past andTheand present, collectionpresent, with with captures hints hints of andof futures futures embodies yet yet unknown. theunknown. com- TheplexThe collection collection temporalities captures captures of movement and and embodies embodies and transitionthe the com com- - plexfromplex temporalities temporalities one artistic generation of of movement movement to another, and and transition transition like a fromfrom one one artistic artistic generation generation to to another, another, like like a a 1 André Breton famously said that art – and collecting 1 André Breton famously said that art – and collecting – JohnJohn Stephenson, Stephenson, "Twisted "Twisted Earthscape Earthscape –1 Andréshould Breton only befamously approached said that as art an – andact ofcollecting love. – shouldshould only only be be approached approached as as an an act act of of love. love. #18",#18", 35x35x24, 35x35x24, 1989. 1989. 20

The Mast collection awakened me to domestic collecting as a creative act, collector as maker, collector as collage artist.1 To continue this no- tion of making, let us explore the signifcance of creative freedom experienced by the domestic collector as opposed to the institutional collector. In addition to the beneft of the domestic collec- tion providing a nurturing, inspiring space to live out daily routines (bills, meals, celebrations and quarrels in front of the Peter Voulkos platter), the domestic collection is free of the committee with all its swaddling restrictive comforts, the collec- tor’s free range mobility to operate both at ran- Tom Phardel, Disc, 65x60x6, 1992; steel, stone and bronze. dom and by design is key to the construction of a unique work of collection collage. The see it, like it, buy it, notion that Marilyn described with de- The Mast collection has safeguarded a unique light is not to be underestimated. Sure, a budget snapshot of a Michigan ceramic collabora- is the dirty uncle of all collections, but the ability tive called the Clay 10, a generation of artists to build as you go with a committee of one/two is who came of age under the generation of Pe- the fundamental (aesthetic) parting line inviting ter Voulkos, Betty Woodman, Rudy Autio, Paul whim, chance, and the development of a per- Soldner, Ken Ferguson, Tony Hepburn, Robert sonal taste that piles up consistent inconsisten- Turner, Ruth Duckworth, Hans Coper, and Lucie cies, changes that are beautifully incremental Rie to name a few. The Clay 10 and others like over a lifetime which begin to tell a provocative them across the country helped that “frst gen- and specifc story, producing a narrative unlike eration” complete the shift of traditional ceram- anything possible in a public collection. The col- ics/pottery into the realm of art - sculpture and lection collage becomes a biography but tran- modernism. Together these two generations and scends complete self-portraiture or narcissism have infuenced the past 25 to 40 years of ce- as it can only be made up of multiple voices of ramics students through the continuum of mod- other people – artists and viewers whose touch ern to post modern and contemporary practice. remains in the patina of works unlike anything in The Clay 10 collaborative was generous in the a museum where physical interaction is forbid- way they identifed emerging talent and includ- den, the effect of which is to reduce everything ing them in their exhibitions. Of particular inter- to the eye, the instrument of envy and longing, est to Tim and Marilyn Mast during that time was, where touch is the instrument of relation, inti- and still is, the work of John Stephenson, former macy, and reciprocity. A whole universe of differ- University of Michigan department of ceramics ence opens up here in understanding the public head, Susanne Stephenson, former Eastern and private functions of collecting and it is in this Michigan University ceramics department head, sense that the collector as cultural collage artist and Tom Phardel, who leads the ceramic depart- is a lens through which I would like to continue ment at the College for Creative Studies in Detroit. looking and writing on the psychic, aesthetic, These three imminent Michigan ceramicists were and material explorations of other collections. leaders in the group and pivotal in a dense pe- riod of the Mast’s collecting helping them to hone 1 Many of the great collections / collectors, however their taste in expressive vessel and large sculp- varied, share this collage aspect: Breton, clearly, the tural forms. A further exploring of the Clay 10 is to de Menil collection in Houston, the Isabella Gardner follow in subsequent Detroit Research Volumes. collection in Boston; while the aesthete Adrian Stokes late in life said that it was absolutely essential that we develop an aesthetics of domesticity. 21

Ceramic and mixed media works coming out of Mast collection calls one to consider some of the Cranbook Academy of Art, College for Creative visionaries, curators, owners and dealers who Studies, University of Michigan and Eastern have played an important creative role in the Michigan University among others shaped and Masts’ path over the years; it is to grasp instantly continue to lead the regional tradition of mod- the sense of lost as well as newly unfolding visu- ernist/post-modern exploration of the ceramic al art terrains in Metro Detroit: Sam Wagstaff at object, and now clay and mixed media installa- the Detroit Institute of Arts; Susanne Hilberry at tion. The Mast collection, though dominated by the Susanne Hilberry Gallery; George N’Namdi clay, is not nostalgic for ceramics. Tim and Mari- for three decades as the George N’Namdi Gal- lyn collect ceramic and mixed media works as lery, and now the N’Namdi Center for Con- seen in the work of Janet Neuwalder, and Sha- temporary Art; Gertrude Kasle of the Gertrude ron Que, two of their most favored mid-career Kasle Gallery; Mary Preston of The Feigenson- artists, the early career artists such as the work Preston Gallery; Alan and Dulcie Swidler at The of Shannon Goff and Tom Lauerman, Phaedra Swidler Gallery at which Paul Kotula was direc- Robinson and Scott Hocking and emerging art- tor; Arlene Selik and Linda Ross of The Syba- ists they are keeping their eye on as “ones to ris Gallery; Corrine Lemberg of Lemberg Gal- watch,” Kevin Beasley, Graem Whyte and Virgin- lery; Darlene Carroll of Wasserman Projects ia Rose Torrence among others, each working in (formerly with Lemberg Gallery); the collective media spanning from ceramics to social practice. vision of Paul Kotula, Sandra Schemske, Meg LaRou and Joanne Park-Foley at Revolution Gallery; then Paul Kotula at Paul Kotula Proj- ects; Dick Goody at the Meadowbrook Gallery, now the Oakland University Gallery; Mary Deni- All of these works have been discovered with son, Sharon Zimmerman and now Nancy Sizer a great degree of interchange with and regard at the Detroit Artist Market; and most recently for the Metro Detroit galleries and gallerists Monica Bowman at the Butcher’s Daughter, and who have brought emerging to blue chip art- Simone DeSousa at Re:view Gallery among ists to the Mast’s attention. From their frst pur- other strong emergent galleries. The Mast’s chase at the International Art Gallery in down- collection maps the intersection of these past town Detroit, to the over ffty galleries listed in guides/ relationships and stands as a living tes- an addendum to this article, fve specializing in tament to one segmented era, an era that keeps ceramics up through the present. Tim and Mari- evolving and incorporating new landscapes. lyn speak with gratitude about the gallerists who guided their path as well as a deep sense of loss about how the city’s economic challenges have If 80% of success is showing up, as Woody Al- reduced the number and energy of the gallery len says, their collection refects an exhausting, network to a handful, few of which now focus open, probing approach to venue. Tim and Mari- on the exhibition of ceramics. This conversa- lyn Mast embrace the notion that the entire city tion with the Masts about an entire disappeared is a potential space of discovery and the regu- sector has explained so much of the shaking lar hierarchical breakdown between art venues heads of elders I am close to in the arts. I’ve is far less determinate - they go everywhere in not had a clear sense of what they miss when hopes of seeing something fresh. (There is an they speak of what used to be - until now. Un- old French term, denicheur, hunter, which is used derstanding this, their collections stared back to identify the art collector passionately and con- at me representing not only artists but the gal- stantly in search of just the right work, and a work leries and associated networks, resources, and community that have dissolved. Viewing the Tim Mast Janet Ayako Neuwalder, “Cocoon”, 11x17x12, 1990; and “Bundle” 8x11x10, 1989. 22 which, moreover, has not yet entered the twenty years to their governing Board (includ- mainstreamwhich, moreover, of appreciation has not yet orentered taste, the charac main- twentying chair) years and to exhibitiontheir governing committee. Board (including One gets terizationstream of which appreciation fts the or Masts taste, perfectly.) characterization Their chair)the sense, and exhibitionhearing stories committee. of the Onecollection, gets the that commitmentwhich fts the to education Masts perfectly.) and emerging Their commit artists- sense,it is a private hearing accretion stories of of the a verycollection, social that engage it is - isment comprehensive, to education theirand emerging collecting artists practice is com de- ament. private Each accretion piece ofis aabout very social stories engagement. and people, fnedprehensive, by exploratory their collecting participation. practice They defned tend byto Eachremembrances piece is about of relationshipstories and people, and inspiration, remem- knowexploratory the names participation. of younger They emergingtend to know talent the brancesmanifestations of relationship of their support and inspiration, and encourage mani- - yetnames unheard of younger of by their emerging collecting talent peers yet unheard – they festationsment of more of their than support one hundred and encouragement and ffty ce - lookof by at theirmicro collecting studios peersas well – theyas visit look to at mega- micro oframic more artists. than one The hundred Masts’ and collection ffty ceramic has beenart- artstudios fairs, Artas wellBasel as Miami,visit to pop-ups,megaart fairs, community Art Ba- ists.rightly The infuenced Masts’ collection by their has active been participation rightly infu -in centerssel Miami, and pop-ups, one day community happenings. centers In additionand one encedthe intellectual, by their active museum, participation and student in the lifeintellec at the- today established happenings. galleries, In addition they to established regularly gal at- tual,Cranbrook museum, Academy and student of Art. life Masts at the have Cranbrook a deep leries, they regularly attend Gallery Project in Academy of Art. The Masts have a deep connec- tend Gallery Project in Ann Arbor, Motor City connection and understanding of the particular Ann Arbor, Motor City Brewing, Next Step Stu- tion and understanding of the particular form of Upper: Rebecca Tufts, “Sliced Loaf”, 6x8x3, 2003; Brewing, Next Step Studios, and the Contem- form of modernism from which the school was dios, and the Contemporary Art Institute Detroit modernism from which the school was born and Lower: Adele Barres, “Kuru-Kuru”, 1987. porary(CAID) Art which Institute is a parent Detroit organization (CAID) which for Detroit is a theborn innovative and the innovativeyet retreat-like yet retreat-likeexperience experiCran- - parentContemporary organization Gallery, for LadyDetroit Bug Contemporary Gallery, and brookence Cranbrookoffers. The school offers. attracts The school a slightly attracts more a Gallery,Whitdel Lady Arts. Bug Pieces Gallery, playful and and Whitdel serious Arts. fnd matureslightly student more maturebase, many student of whom base, have many been of Piecestheir way playful into theand collection serious likefnd a theirtoddler way sneak into- practicingwhom have artists been and practicing many from artists divergent and felds many theing collection cookies into like the a grocery toddler basket. sneaking They cook fnd- whofrom bring divergent a high felds level ofwho professionalism bring a high tolevel their of iesthemselves into the at grocery capacity basket. for space, They but fnd unable them to- studioprofessionalism research and to their tend studio to produce research collect and- selvesstop the at momentum. capacity for They space, are buttrue unable collectors. to abletend worksto produce during collectable their educational works exploration. during their stop the momentum. They are true collectors. Knowingeducational and exploration.tracking each Knowingartist has become and track a - But what is more, the Masts are known to the sorting each of intellectual/ artist has personal become past a sort time. of Marilynintellec - Butlocal what art is community more, the as Masts serious are contributorsknown to the of andtual/personal Tim have pasta zeal time. for theMarilyn artists and in theirTim colhave- localtime, art attention, community and assupport serious to Michigancontributors artists of lectiona zeal -for there the areartists fles in andtheir spreadsheets collection - there that and arts organizations. The study and acquisi- refect this, evidences of the collector-tracker- time, attention, and support to Michigan artists are fles and spreadsheets that refect this, evi- tion of this collection of works lead Marilyn and hunter. The artists mark eras and historic events and arts organizations. The study and acquisi- dences of the collector-tracker-hunter. The art- Tim Mast to a deep engagement with artists, and transitions for the couple, “we acquired this tionarts of and this culturecollection and of educational works lead collectingMarilyn and in- when...”ists mark eras and historic events and transi- Timstitutions Mast to in a Metro deep Detroit.engagement Their with participation artists, tions for the couple, “we acquired this when...” artsin theand Detroitculture Instituteand educational of Arts (DIA) collecting commit in- stitutionstee, Friends in Metro of Modern Detroit. and Their Contemporary participation Art in(FMCA), the Detroit an auxiliary Institute of of the Arts DIA, (DIA) and commit travel in- tee,the FriendsFMCA and of ModernFriends andof Prints Contemporary Drawings and Art (FMCA),Photographs an auxiliary (FPDF) of formerly the DIA, known and travel as the in theGraphic FMCA Arts and Society, Friends has of Printshad a Drawingssignifcant andim- Photographspact on their (FPDF) knowledge formerly and friendships known as with the Graphiccollectors Arts in Society, Detroit, Kansashas had City, a signifcant and beyond. im- pact on their knowledge and friendships with collectors in Detroit, Kansas City, and beyond. The Masts have found a home at Cranbook TheAcademy Masts of have Art, found a board a home on which at Cranbook Tim has Academybeen a member of Art, a and board chaired on which the nominating Tim has beencommittee a member over and the course chaired of the twelve nominating years. committeeTim’s childhood over thewonderment course of for twelve Pewabic years. Pot- Tim’stery continued childhood in wondermenthis adult life as for he Pewabic devoted Pottery continued in his adult life as he devoted Shirley White Black,Shirley Wing, White10x20x14, Black, 1981. “Wing”, 10x20x14, 1981. 23 Janet Ayako Neuwalder, “Cocoon”, 11x17x12, 1990; and “Bundle” 8x11x10, 1989. TimTim MastMastTim MastTim Mast JanetJanetJanet AyakoAyako Ayako Neuwalder,Neuwalder, Neuwalder, “Cocoon”,“Cocoon”, Cocoon, 11x17x12,11x17x12, 11x17x12, 1990;1990; 1990; andand and “Bundle”“Bundle” Bundle 8x11x10,8x11x10, 1989.1989. Tim MastTim Mast Janet AyakoJanet Ayako Neuwalder, Neuwalder, “Cocoon”, “Cocoon”, 11x17x12, 11x17x12, 1990; 1990;and “Bundle” and “Bundle” 8x11x10, 8x11x10, 1989. 1989. which, moreover, has not yet entered the twenty years to their governing Board (includ- which,which,which, moreover, moreover, moreover, has has nothas not yet yet not entered entered yet entered the the thetwentytwenty twenty yearsyears years toto theirtheir to governingtheirgoverning governing BoardBoard Board (includ(includ (includ-- - mainstreammainstreammainstream of of appreciation appreciation of appreciation or or taste, taste, or taste, charac charac charac-- inging- chair)chair)ing chair) andand andexhibitionexhibition exhibition committee.committee. committee. OneOne One getsgets gets mainstreamterizationmainstream of which appreciation of fts appreciation the Masts or taste, orperfectly.) taste, charac charac Their- ing - chair)theing sense, chair) and exhibitionhearingand exhibition stories committee. committee.of the collection, One getsOne thatgets terizationterizationterization whichwhich which ftsfts thethe fts MastsMasts the Masts perfectly.)perfectly.) perfectly.) TheirTheir Their thethe sense,sense,the sense, hearinghearing hearing storiesstories stories ofof thethe of collection,collection, the collection, thatthat that commitmentcommitmentcommitment toto educationeducation to education andand andemergingemerging emerging artistsartists artists itit isis aait privateprivateis a private accretionaccretion accretion ofof aa veryofvery a very socialsocial social engageengage engage-- - commitmentiscommitment comprehensive, to education to education their and collecting emerging and emerging practice artists artists deit- is ament.it private is a Eachprivate accretion piece accretion isof abouta very of a stories socialvery social engageand people,engage- - isis comprehensive,comprehensive,is comprehensive, theirtheir collectingcollectingtheir collecting practicepractice practice dede-- dement.ment.- ment. EachEach Each piecepiece piece isis aboutabout is about storiesstories stories andand people, people,and people, fnedfnedfned byby exploratoryexploratory by exploratory participation.participation. participation. TheyThey They tendtend tend toto toremembrancesremembrances remembrances ofof relationshiprelationship of relationship andand andinspiration,inspiration, inspiration, fnedknow fnedby exploratory theby exploratory names participation. of youngerparticipation. They emerging Theytend totend talent remembrancesto manifestationsremembrances of relationship of of their relationship support and and inspiration,and encourage inspiration, - knowknowknow the the names names the names of of younger younger of younger emerging emerging emerging talent talent talent manifestationsmanifestations manifestations ofof theirtheir of supportsupporttheir support andand encourageencourage and encourage-- - yetyet unheardunheardyet unheard ofof byby of theirtheir by their collectingcollecting collecting peerspeers peers –– theythey – they mentment ment of of more more of more than than than one one one hundred hundred hundred and and and ffty ffty fftyce ce-- ce- yet unheardlookyet unheardat micro of by ofstudiostheir by collectingtheir as collectingwell aspeers visit peers – tothey mega- – theyment ramic ment of more artists. of more than The than one Masts’ hundred one hundred collection and ffty and has ce ffty been- ce - looklook atatlook micromicro at micro studiosstudios studios asas wellwell as asaswell visitvisit as totovisit mega-mega- to mega-ramicramicramic artists. artists. artists. The The Masts’ Masts’ The Masts’ collection collection collection has has been been has been artart fairs,fairs,art fairs, ArtArt BaselBasel Art Basel Miami,Miami, Miami, pop-ups,pop-ups, pop-ups, communitycommunity community rightlyrightly rightly infuencedinfuenced infuenced byby theirtheir by their activeactive active participationparticipation participation inin in art fairs,centersart fairs,Art Baseland Art oneBasel Miami, day Miami, pop-ups,happenings. pop-ups, community In community addition rightly therightly infuenced intellectual, infuenced by museum, their by activetheir and active participation student participation life inat the in centerscenterscenters andand oneoneand daydayone happenings.happenings.day happenings. InIn additionaddition In addition thethe intellectual,intellectual,the intellectual, museum,museum, museum, andand studentstudent and student lifelife atat life thethe at the toto established establishedto established galleries, galleries, galleries, they they they regularly regularly regularly at at-- atCranbrookCranbrook- Cranbrook AcademyAcademy Academy ofof Art.Art. of MastsArt.Masts Masts havehave have aa deepdeep a deep to establishedtendto establishedGallery galleries,Project galleries, in theyAnn theyArbor, regularly regularly Motor at- City atCranbrook - connectionCranbrook Academy and Academy understanding of Art. of Masts Art. Masts have of the havea particulardeep a deep tendtend GalleryGallery ProjectProject inin AnnAnn Arbor,Arbor, MotorMotor CityCity connectionconnection andand understandingunderstanding ofof thethe particularparticular Upper:Upper:Upper: RebeccaRebecca Rebecca Tufts,Tufts, Tufts, “Sliced“Sliced “Sliced Loaf”,Loaf”, Loaf”, 6x8x3,6x8x3, 6x8x3, 2003;2003; 2003; tendBrewing, tendGallery Gallery ProjectNext ProjectStep in AnnStudios, in Arbor,Ann andArbor, Motor the Motor ContemCity Cityconnection- formconnection of andmodernism understanding and understanding from which of the theof particular the school particular was Upper:Upper: RebeccaUpper: Rebecca Tufts, Rebecca “SlicedTufts, Tufts- “Sliced Loaf”, Bhowmick, Loaf”,6x8x3, 6x8x3, 2003; Sliced 2003; Loaf , 6x8x3, 2003; Brewing,Brewing, NextNext StepStep Studios,Studios, andand thethe ContemContem-- formform ofof modernismmodernism fromfrom whichwhich thethe schoolschool waswas Lower:Lower:Lower: AdeleAdele Adele Barres,Barres, Barres, “Kuru-Kuru”,“Kuru-Kuru”, “Kuru-Kuru”, 1987.1987. 1987. Brewing,poraryBrewing, Next Art NextStep Institute StepStudios, Detroit Studios, and (CAID) theand Contem the which Contem- is form a - born formof modernism and of modernism the innovative from fromwhich yet which the retreat-like school the school was experi was- Lower:Lower: AdeleLower: AdeleBarres, Adele Barres, “Kuru-Kuru”, Barres, “Kuru-Kuru”, Kuru-Kuru 1987. 1987., 1987. poraryporaryporary ArtArt Institute Institute Art Institute Detroit Detroit Detroit (CAID) (CAID) (CAID) which which which is is a a isbornborn a andbornand the theand innovativeinnovative the innovative yetyet retreat-likeretreat-like yet retreat-like experiexperi experi-- - parentparentparent organizationorganization organization forfor DetroitDetroitfor Detroit ContemporaryContemporary Contemporary enceence ence Cranbrook Cranbrook Cranbrook offers. offers. offers. TheThe The school school school attracts attracts attracts a a a parentGallery,parent organization organization Lady Bug for Gallery,Detroit for Detroit Contemporary and Contemporary Whitdel Arts. ence slightly ence Cranbrook Cranbrook more offers. mature offers. The student schoolThe school base, attracts attractsmany a of a Gallery,Gallery,Gallery, Lady Lady Lady Bug Bug Gallery, Gallery,Bug Gallery, and and Whitdel Whitdel and Whitdel Arts.Arts. Arts.slightlyslightly slightly more more more mature mature mature student student student base, base, base, many many many of of of PiecesPiecesPieces playfulplayful playful andand andseriousserious serious fndfnd fndtheirtheir their wayway way intointo intowhomwhom whom havehave have beenbeen been practicingpracticing practicing artistsartists artists andand andmanymany many PiecesthePieces playful collection playful and like seriousand a serious toddler fnd theirfnd sneaking theirway intoway cook intowhom- fromwhom have divergent havebeen been practicingfelds practicing who artists bring artists aand high manyand level many of thethe collection collectionthe collection like like a a like toddler toddler a toddler sneaking sneaking sneaking cook cook -- cookfromfrom- fromdivergentdivergent divergent feldsfelds felds whowho bringbringwho bringaa highhigh a levellevelhigh levelofof of iesies into intoies into the the grocery the grocery grocery basket. basket. basket. They They They fnd fnd fnd them them them-- professionalismprofessionalism- professionalism to to their their to their studio studio studio research research research and and and ies intoselvesies the into at grocery the capacity grocery basket. for basket. space, They They fnd but themunable fnd - them toprofessionalism - tendprofessionalism to produce to their collectable to their studio studio works research research during and their and selvesselvesselves at at capacity capacity at capacity for for space, space, for space, but but unable unable but unable to to tendtend to totendto produceproduce to produce collectablecollectable collectable worksworks works duringduring during theirtheir their stopstopstop thethe momentum.momentum.the momentum. TheyThey They areare truetrueare truecollectors.collectors. collectors. educationaleducational educational exploration. exploration. exploration. Knowing Knowing Knowing and and and track track track-- - stop thestop momentum. the momentum. They Theyare true are collectors.true collectors. educational ingeducational each exploration.artist exploration. has become Knowing Knowing a sort and of trackand intellec - track-- inging eacheaching eachartistartist artisthashas becomebecomehas become aa sortsort a ofofsort intellecintellec of intellec-- - ButBut whatButwhat what isis more,more, is more, thethe MastsMaststhe Masts areare knownknownare known toto thethe to thetual/personaltual/personal tual/personal pastpast past time.time. time. MarilynMarilyn Marilyn andand andTimTim Timhavehave have But localwhatBut whatartis more, community is more, the Masts the as Mastsserious are known are contributors known to the to theoftual/personal atual/personal zeal for past the artiststime.past time.Marilyn in their Marilyn and collection Timand haveTim - there have locallocal localartart communitycommunity art community asas seriousserious as serious contributorscontributors contributors ofof aaof zealzeal a forforzeal thethe for artistsartists the artists inin theirtheir in collectiontheircollection collection -- therethere - there time,time,time, attention,attention, attention, andand andsupportsupport support toto MichiganMichigan to Michigan artistsartists artists areare flesflesare fles andand andspreadsheetsspreadsheets spreadsheets thatthat thatrefectrefect refect this,this, this, evievi-- evi- time,and time,attention, arts attention, organizations. and support and support Theto Michigan study to Michigan and artists acquisi artists are- flesdencesare andfles of spreadsheets and the spreadsheetscollector-tracker-hunter. that refect that refect this, Theevithis,- art evi-- andand artsartsand organizations.organizations. arts organizations. TheThe studystudy The study andand acquisiacquisi and acquisi-- dencesdences- dences ofof thethe of collector-tracker-hunter.collector-tracker-hunter. the collector-tracker-hunter. TheThe art artThe-- art- tiontion oftionof thisthis of collectionthiscollection collection ofof worksworks of works leadlead lead MarilynMarilyn Marilyn andand andistsists markistsmark mark eraseras eras andand andhistorichistoric historic eventsevents events andand andtransitransi transi-- - tion Timoftion this Mast of collection this to collection a deep of works engagement of works lead Marilynlead with Marilyn and artists, andists tionsmarkists markforeras the erasand couple, historicand “wehistoric events acquired events and this transiand when...” transi- - TimTim MastMastTim Masttoto aa deepdeepto a deepengagementengagement engagement withwith artists,artists,with artists, tionstions tionsforfor thethe for couple,couple, the couple, “we“we acquiredacquired “we acquired thisthis when...”when...” this when...” artsarts artsandand andcultureculture culture andand andeducationaleducational educational collectingcollecting collecting inin-- in- arts stitutionsandarts cultureand inculture and Metro educationaland Detroit. educational Their collecting participationcollecting in- in - stitutionsstitutionsstitutions in in Metro Metro in Metro Detroit. Detroit. Detroit. TheirTheir Their participation participation participation inin the thein Detroitthe Detroit Detroit Institute Institute Institute of of ArtsArts of Arts (DIA) (DIA) (DIA) commit commit commit-- - in thetee,in Detroit theFriends Detroit Institute of Modern Institute of Arts and of (DIA)ArtsContemporary (DIA) commit commit- Art - tee,tee, FriendsFriendstee, Friends ofof ModernModern of Modern andand Contemporary Contemporaryand Contemporary ArtArt Art (FMCA),(FMCA),(FMCA), anan auxiliary auxiliaryan auxiliary ofof thethe of DIA,DIA,the DIA, andand andtraveltravel travel inin in (FMCA),the(FMCA), FMCA an auxiliary anand auxiliary Friends of the ofof DIA, thePrints DIA,and Drawings traveland travel in and in thethe FMCAFMCAthe FMCA andand FriendsFriends and Friends ofof PrintsPrints of Prints DrawingsDrawings Drawings andand and PhotographsPhotographsPhotographs (FPDF) (FPDF) (FPDF) formerly formerly formerly known known known as as the the as the PhotographsGraphicPhotographs Arts (FPDF) Society, (FPDF) formerly has formerly had known a signifcant known as the as im the- GraphicGraphicGraphic ArtsArts Society, Society,Arts Society, hashas hadhad has aa had signifcantsignifcant a signifcant imim-- im- pactpactpact onon their theiron their knowledgeknowledge knowledge andand andfriendshipsfriendships friendships withwith with pactcollectors pacton their on their knowledgein Detroit, knowledge Kansas and friendshipsand City, friendships and withbeyond. with collectorscollectorscollectors inin Detroit,Detroit, in Detroit, KansasKansas Kansas City,City, andandCity, beyond.beyond. and beyond. The Masts have found a home at Cranbook TheThe Masts MastsThe Masts have have have found found found a a home home a home at at Cranbook Cranbook at Cranbook AcademyAcademyAcademy of of Art, Art, of Art, a a board board a board on on which which on which Tim Tim Tim has has has AcademybeenAcademy a of member Art, of a Art, board and a board chaired on which on the which Tim nominating has Tim has beenbeen been a a member member a member and and chaired chaired and chaired the the nominating nominating the nominating committeecommitteecommittee over over over the the coursethe course course of of twelve twelve of twelve years. years. years. committeeTim’scommittee childhood over over the course the wonderment course of twelve of for twelve years. Pewabic years. Tim’sTim’sTim’s childhood childhood childhood wonderment wonderment wonderment for for Pewabic Pewabic for Pewabic PotteryPotteryPottery continuedcontinued continued inin hishis in adultadult his adult lifelife asas life hehe as devoteddevoted he devoted ShirleyShirleyShirley WhiteWhite White Black,Black, Black, “Wing”,“Wing”, “Wing”, 10x20x14,10x20x14, 10x20x14, 1981.1981. 1981. PotteryPottery continued continued in his in adult his adultlife as life he as devoted he devoted ShirleyShirley White WhiteBlack, Black, “Wing”, “Wing”, 10x20x14, 10x20x14, 1981. 1981. Upper: David Shaner, “Cirque”, 5x19x19, 1993; Lower: Jun Kaneko, “Chunk” 16x13x3, 1989. 24 Pi Benio, “Fetal Female Wrapped Form”, 34x25x10, 1991.

Though Tim pursued law, and Marilyn teach- ing, volunteer administrating, and the Unitar- ian Church, their social engagements and re- Upper: David Shaner, lationships have taken place among artists, students, curators, arts administrators, and fel- low collectors and appreciators. Their interest in forms, texture and meaning has encouraged and supported emerging and developed talent to explore the outer reaches of their medium.

Cirque Throughout my education, and conversations like this one with the Masts, my thoughts , 5x19x19, 1993; Lower: Jun Kaneko, have been rearranged. I am now thinking of collectors as artists, their private collections as public (seen or unseen), and of the collec- tor as cross-trainer - they usually do this ‘on the side.’ A point of distinction that needs to be made is that throughout their travel abroad and in the US, Tim and Marilyn have remained committed to building a signifcant portion of their collection with artwork created in Michi- gan, or by Michiganders, or artists from vari- Graham Marks, Untitled, 33x33x34, 1987. ous places who have fallen into or fallen in

Chunk, love with Detroit. Like many other collectors a simple curiosity grew into a guiding prin- ciple of life – an aesthetic of domesticity – 16x13x3, 1989. which has shaped their social life, travel and friendships for almost ffty years, and in turn they have shaped the community that people likely have been shaped by, knowingly and unknowingly. Their collection refects a criti- cal slice of Detroit’s history and culture, now safeguarded against dispersion. Entire histo- ries housed along-side burgeoning visions, textures of the future. A true collection collage.

John Stephenson, “Earth Auger”, 12x24x13, 1985. Upper: David Shaner, “Cirque”, 5x19x19, 1993; Lower: Jun Kaneko, “Chunk” 16x13x3, 1989. Pi Benio, “Fetal Female Wrapped Form”, 34x25x10, 1991. Upper: David Shaner, “Cirque”, 5x19x19, 1993; Lower: Jun Kaneko, “Chunk” 16x13x3, 1989. Pi Benio, “Fetal Female Wrapped Form”, 34x25x10, 1991. Upper: David Shaner, “Cirque”, 5x19x19, 1993; Lower: Jun Kaneko, “Chunk” 16x13x3, 1989. Pi Benio, “Fetal Female Wrapped Form”, 34x25x10, 1991. 25 Pi Benio,

Though Tim pursued law, and Marilyn teach- Though Tim pursued law, and Marilyn teach-

ing,Though volunteer Tim pursuedadministrating, law, and and Marilyn the Unitarian teachteach-- Fetal Female Wrapped Form ing, volunteer administrating, and the Unitar- Church,ing, volunteer their social administrating, engagements andand and thethe relation UnitarUnitar-- ian Church, their social engagements and re- shipsian Church, have taken their place social among engagementsengagements artists, students, andand rere-- lationships have taken place among artists, curators,lationships arts have administrators, taken place place and among among fellow artists, artists,collec- students, curators, arts administrators, and fel- torsstudents, and appreciators. curators, arts Their administrators, interest in andand forms, felfel-- low collectors and appreciators. Their interest texturelow collectors and meaning and appreciators. has encouraged TheirTheir and interestinterest sup- in forms, texture and meaning has encouraged portedin forms, emerging texture and and developed meaning hashas talent encouragedencouraged to explore and supported emerging and developed talent theand outer supported reaches emerging of their medium.and developed talenttalent to explore the outer reaches of their medium. to explore the outer reaches ofof theirtheir medium.medium. , 34x25x10, 1991. Throughout my education, and conversations ThroughoutThroughout mymy education, and and conversations conversations likelike thisthis one one with with the the Masts, Masts, my mythoughts thoughts have like this one with the Masts, Masts, my my thoughts thoughts havebeen been rearranged. rearranged. I am I now am thinkingnow thinking of collec of - have been rearranged. I am now thinking ofof Christian Tedeschi, Untitled, 9x8x5 collectorstors as artists, as artists, their private their private collections collections as pub - (metal stand 11x10x5), 2002. collectors as artists, their private collections aslic public (seen (seen or unseen), or unseen), and and of the of the collector collec - as as public (seen or unseen), and of the colleccollec-- torcross-trainer as cross-trainer - they usually- they usually do this do‘on thisthe side.’‘on obert Sperry, Untitled, 28x28x4, 1989. tor as cross-trainer - they usuallyusually dodo thisthis ‘on‘on theA point side.’ of Adistinction point of distinction that needs that to beneeds made to is the side.’ A point of distinction thatthat needsneeds toto bethat made throughout is that throughout their travel their abroad travel and abroad in the be made is that throughout their travel abroadabroad andUS, in Tim the US, and Tim Marilyn and Marilyn have remained have remained commit - and in the US, Tim and Marilyn have remainedremained committedted to building to building a signifcant a signifcant portion portionof their ofcol - committed to building a signifcant portionportion ofof theirlection collection with artwork with artworkcreated createdin Michigan, in Michi or -by their collection with artwork createdcreated inin MichiMichi-- gan,Michiganders, or by Michiganders, or artists from or variousartists from places vari who- Graham Marks, Untitled, 33x33x34, 1987. havegan, fallenor by into Michiganders, or fallen in love or artists with Detroit. from vari variLike-- GrahamGraham Marks,Marks, Untitled,Untitled, 33x33x34,33x33x34, 1987.1987. ous places who have fallen into or fallen in manyous places other collectors who have a fallen simple into curiosity or fallen fallen grew in in love with Detroit. Like many other collectors intolove a withguiding Detroit. principle Like of manymany life – otherother an aesthetic collectorscollectors of a simple curiosity grew into a guiding prin- domesticitya simple curiosity – which grew has into shaped a guiding their social prin prin-- ciple of life – an aesthetic of domesticity – life,ciple travel of lifeand – friendships an aesthetic for almost of domesticity ffty years, – – which has shaped their social life, travel and andwhich in has turn shaped they have their shaped social thelife, communitytravel andand friendships for almost ffty years, and in turn thatfriendships people likelyfor almost have beenffty years, years,shaped andand by, in inknow turnturn- they have shaped the community that people inglythey andhave unknowingly. shaped the Their community collection thatthat refects peoplepeople a likely have been shaped by, knowingly and criticallikely haveslice of been Detroit’s shaped history by, by, and knowingly knowingly culture, andnow and unknowingly. Their collection refects a criti- safeguardedunknowingly. against Their dispersion.collection refectsEntire histories aa criticriti-- cal slice of Detroit’s history and culture, now housedcal slice along-side of Detroit’s burgeoning history and visions, culture, textures nownow safeguarded against dispersion. Entire histo- Marilyn Mast ofsafeguarded the future. A against true collection dispersion. collage. Entire histohisto-- ries housed along-side burgeoning visions, ries housed along-side burgeoning visions, visions, textures of the future. A true collection collage. textures of the future. A true collectioncollection collage.collage. JohnJohn Stephenson, Stephenson, “Earth Earth Auger”,Auger, 12x24x13, 12x24x13, 1985. 1985. John Stephenson, “Earth Auger”, 12x24x13, 1985.1985. 26

ChristianChristian Tedeschi, Tedeschi, Untitled, Untitled, 9x8x5 9x8x5 ChristianChristian Tedeschi, Tedeschi, Untitled, Untitled, 9x8x5 9x8x5 (metalChristian(metal stand 11x10x5),standTedeschi, 11x10x5), Untitled,2002. 2002. 9x8x5 (metal(metal (metalstand stand11x10x5),stand 11x10x5),11x10x5), 2002. 2002.2002. (metal(metal stand stand 11x10x5), 11x10x5), 2002. 2002. RobertRobert Sperry, Sperry, Untitled, Untitled, 28x28x4, 28x28x4, 1989. 1989. RobertRobert Sperry,Robert Sperry, Untitled, Sperry, Untitled, Untitled,28x28x4, 28x28x4, 28x28x4, 1989. 1989. 1989.

MarilynMarilyn MastMarilyn Mast Mast MarilynMarilyn Mast Mast