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Movers & Shakers in American Ceramics
A Ceramics Monthly Handbook Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Published by The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, Ohio 43082 USA The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, OH 43082 © 2003, 2011 by The American Ceramic Society, All rights reserved. ISBN: 1-57498-165-X (Paperback) ISBN: 978-1-57498-560-3 (PDF) No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher, except by a reviewer, who may quote brief passages in review. Authorization to photocopy for internal or personal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, provided that the appropriate fee is paid directly to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923 U.S.A., www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copyright items for general distribution or for advertising or promotional purposes or to republishing items in whole or in part in any work in any format. Requests for special photocopying permission and reprint requests should be directed to Director, Publications, The American Ceramic Society, 600 N. -
Annual Report 2013-2014
The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I. -
Q (Q § « ^ O.2 E (9 •G 0 § ^ 0 22 May—13 September 1964 S Trustees of the American Craftsmen's Councii Mrs
»he Museum of Contemporary Crafts, 29 West 53rd Street, New York Q (Q § « ^ o.2 e (9 •g 0 § ^ 0 22 May—13 September 1964 s Trustees of the American Craftsmen's Councii Mrs. Vanderbilt Webb, Chairman of the Board Kenneth Chorley, Vice-Chairman William J. Barrett, President and, Treasurer May E. Walter, Secretary Mrs. 8. D. Adams Alfred Auerbach Thomas D'Arcy Brophy Rene d'Harnoncourt Mark EIIingson Mrs. John Houseman Bernard Kester Walter H. Kilham, Jr. V. Lada-Mocarski Jack Lenor Larsen Dorothy Liebes Harvey K. Littleton Francis S. Merritt Forrest D. Murden, Jr. Mary S. Nelson De Witt Peterkin, Jr. Frank Stanton John B. Stevens Mrs. R. Peter Straus Edward Worm ley Museum Staff Paul J. Smith, Director Sybil Frank Marion Lehane Robert Nunnelley Ben E. Watkins An introduction to THE AMERICAN CRAFTSMAN In assembling this exhibition, emphasis was given to representing the wide range of work being done today by America •: ::";: ftsmen—from the strictly utilitarian object to the non-functional work of fine art, from use in personal adornment to application in architectural setting, from devotion t<^ traditional means of work- ing to experimentation with new fabrication pro: .. -rom creation of unique pieces to design application in industrial production. The thirty craftsmen rep- resented, chosen from the hundreds of craftsmen of equal stature, are from every section of the country, of all ages, with every type of background and a wide variety of training. In illustrating the diversity of the work of the American craftsmen no attempt has been made, however, to explain this diversity in terms of geographical areas; cultural influences, or mingling of various art forms. -
Process & Presence
ProCeSS & PreSenCe: Selections from the Museum of Contemporary Craft March 15-July 4, 2011 hroughout history, hand skills Most inDiviDuals now learn craft processes and the ability to make things have been in academic environments, rather than within necessary for human survival. Before the the embracing context of ethnic or other cultural advent of industrial mechanization and traditions. The importance of individual expression the dawn of the digital age, all members of and experimentation has caused the contemporary Tany given community were craftspeople. Everything craft world to come alive with innovation and ever- that was necessary for life—clothing, tools and home changing interpretations of traditional styles, objects furnishings—was made by hand. In America, diverse and techniques. In recent years, the hallowed and populations—Native peoples, immigrant groups and often contentious ideological separation of fine art and regional populations—have preserved and shared craft has begun to ease. Some craft artists have been ancient and evolving traditions of making functional embraced by the fine art community and included in objects for everyday use. the academic canon. Many colleges and universities During the twentieth century, the mass now incorporate crafts education into their overall arts production of utilitarian wares removed the need for curricula and work by studio craft artists routinely functional handmade objects from modern society. appears in art galleries and art museums. This ultimately gave rise to the studio craft movement. PortlanD’s MuseuM of contemporary craft Unlike traditional crafts, studio crafts include visual has long been an important proponent of the studio values as a primary function of creative expression. -
Gareth Mason: the Attraction of Opposites Focus the Culture of Clay
focus MONTHLY the culture of clay of culture the Gareth Mason: The Attraction of Opposites focus the culture of clay NOVEMBER 2008 $7.50 (Can$9) www.ceramicsmonthly.org Ceramics Monthly November 2008 1 MONTHLY Publisher Charles Spahr Editorial The [email protected] telephone: (614) 794-5895 fax: (614) 891-8960 editor Sherman Hall assistant editor Brandy Wolfe Ceramic assistant editor Jessica Knapp technical editor Dave Finkelnburg online editor Jennifer Poellot Harnetty editorial assistant Holly Goring Advertising/Classifieds Arts [email protected] telephone: (614) 794-5834 fax: (614) 891-8960 classifi[email protected] telephone: (614) 794-5843 advertising manager Mona Thiel Handbook Only advertising services Jan Moloney Marketing telephone: (614) 794-5809 marketing manager Steve Hecker Series $29.95 each Subscriptions/Circulation customer service: (800) 342-3594 [email protected] Design/Production Electric Firing: Glazes & Glazing: production editor Cynthia Griffith design Paula John Creative Techniques Finishing Techniques Editorial and advertising offices 600 Cleveland Ave., Suite 210 Westerville, Ohio 43082 Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, Univ. of Florida Scott Bennett; Sculptor, Birmingham, Alabama Tom Coleman; Studio Potter, Nevada Val Cushing; Studio Potter, New York Dick Lehman; Studio Potter, Indiana Meira Mathison; Director, Metchosin Art School, Canada Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Susan York; Santa Fe, New Mexico Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by Ceramic Publications Company; a Surface Decoration: Extruder, Mold & Tile: subsidiary of The American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082; www.ceramics.org. -
Examining the First Women Potters in America and Their Influence on Contemporary Ceramic Art
Proceedings of the 3rd Annual GRASP Symposium, Wichita State University, 2007 Examining the First Women Potters in America and their Influence on Contemporary Ceramic Art Monette Mark Department of Studio Art, College of Fine Arts Abstract. The goal of this research is to demonstrate passed along through generations of ceramic artists. artistic lineage and the intertwined history of early Historical research shows how the effect of technical American women potters. This history shows how a processes, pots or educators helped create a lineage of technical process, pot or teacher has affected and artists that demonstrate diverse achievements, which created a lineage of artists and how they have influence contemporary ceramics. continued to develop throughout the decades of the Experiment. The method for this research involves twentieth and into the twenty-first century. several steps of historical research. First identifying the During the early 1900’s women in America were first women in America to become professional becoming artists, teachers and business owners. The ceramic artists before 1950. Only listing women who roles of these women potters have been noted embodied a dedication to ceramics narrowed the list individually in biographies and historical overviews down. Second, classify each woman into one of three but many of their professional relationships overlapped groups: educator/artists, studio artists, and ceramic and their particular achievements continued through industry artists. Although all of the women were students or associates. The method of this research educators at some point in their lives the criteria for involves historical research much like a family tree of each group is based on the years spent in each professional and artistic developments. -
View Checklist
Recent Acquisitions: Inclusive and Diverse, February 18, 2000-April 16, 2000 For more than a century, The RISD Museum has been actively collecting art from all ages and cultures. This is consistent with the shared mission of the Museum and School of Design to promote "the general advancement of public Art Education, by the exhibition of works of Art ..." In any given year, several hundred objects enter the permanent collection through donation, purchase, and bequest. The Museum's holdings included approximately 80,000 artworks at last count. Visitors often wonder why museums acquire some works of art and not others. This exhibition presents a selection of objects acquired over the past five years by the Museum's six curatorial departments: Ancient Art, Asian Art, Costume and Textiles, Decorative Arts, Painting and Sculpture, and Prints, Drawings, and Photographs. Other recent acquisitions are displayed in the Museum's various permanent collection galleries. For this exhibition, the labels accompanying each object take a new approach. In addition to identifying the artist, date, materials, and donor's name, each label explains why a particular object is an appropriate addition to the Museum's collection. Among the often cited reasons for acquiring works of art are: • to augment existing collection strengths • to extend the range of holdings into new areas of collecting and to respond to an expanding and culturally diverse audience • to support teaching at the School of Design, a priority that sets The RISD Museum apart from many other art museums • to present works of strong visual impact -- beauty as its own reward There are many objects whose fragility does not allow extended exposure to light and air (for example, textiles, watercolors, and silver). -
Gertrud Natzler (1908-1971) Artist's Statement – Otto
OTTO NATZLER (1908–2007) & GERTRUD NATZLER (1908-1971) The partnership of Otto and Gertrud Natzler lasted for 36 years and produced over 25,000 vessels. Gertrud was the potter, creating incredibly thin, exquisitely shaped and deceptively simple forms. Otto supervised the firing and developed the glazes that enhanced and completed the pots. At a time when ornate ceramics was in vogue, the Natzlers produced pure forms. “The form of a pot is the main part of its spiritual substance. Its outline, its proportions and balance, the finger marks impressed on its wall, are the simple statement of its creator, spontaneous and personal as his handwriting.”1 After Gertrud‟s untimely death in 1971, Otto completed the glazing of the pots she had left behind. He continued working in ceramics, making slab forms and adding to the over 2,000 glazes he developed, until his death in 2007 at age 99. 1. John Ready. “The Work of Gertrude and Otto Natzler.” http://www.uwlax.edu/Advancement/connectx/03-issues/feb3/natzler-statement.html ARTIST’S STATEMENT – OTTO NATZLER “Man‟s creations are part of nature and he must at all times work in accordance with its forces…The mysteries of the medium will remain just that. In all we have done we may have penetrated a little beyond the surface. If we did, it was because we tried to do what we believed was in the nature of the medium. The medium is subtle and unassuming, expressive and responsive in its own way. The art of pottery is to the field of art what chamber music is to the field of music. -
Education in Ceramic Art
EDUCATION IN CERAMIC ART IN THE UNITED STATES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University DOROTHY WILSON PERKINS, B. F. A., M. A M HH*« The Ohio State University 1956 Approved byt School of Fine and Applied Arta TUBUS OF CONTENTS CHAPTER PAOE « INTRODUCTION................................... 1 PART It DEVELOPMENTS PRIOR TO 1900 1. EARLY DEVELOPMENTS IN MANUAL, INDUSTRIAL, AND ART EDUCATION................................... U 2. NINETEENTH CENTURY DEVELOPMENTS IN CINCINNATI, . 31 3. NINETEENTH CENTURY DEVELOPMENTS IN NEW ORLEANS • . 50 L. NINETEENTH CENTURY LITERATURE PERTAINING TO CERAMIC A R T ...................... ........ £6 PART II. THE ESTABLISHMENT OF FORMAL EDUCATION IN CERAMIC AlF? 9. CHARLES FERGUS BINNS............................ 82 6. LITERATURE OF THE POPULAR PRESS PERTAINING TO , CERAMIC ART, 1900 - 1 9 2 5 ........................ 120 7. THE AMERICAN CERAMIC SOCIETY.................... 130 8. ADELAIDE ALSOP ROBINEAU AND THE CERAMIC NATIONALS. 176 9. ARTHUR EUGENE BAQG3.............................. 139 10. DEVELOPMENTS AT NON-COLLEGE LEVELS.............. 220 PART IIIi SURVEY 11. EDUCATION IN CERAMIC ART AT THE COLLEGE LEVEL - A NATIONAL SURVEY ....................... 256 CONCLUSION..................................... 273 APPENDIXES................................................ 290 BIBLIOGRAPHY............................................. 302 ii INTRODUCTION Since that early day when some child of primitive -
20Th Century Design and Craft: the Library of Philip Aarons
20 th Century Design and Craft The Library of Philip Aarons 965 titles in 981 volumes The Philip Aarons Design Library The Philip Aarons design library is focused on modern decorative arts—including ceramics, glass, furniture design, metalwork and jewelry—and on modern architecture and architects, from Wright and Gaudi to Team 10. Studies of periods and movements, such as Art Nouveau, Arts and Crafts, and Art Déco, are represented as well. ARS LIBRI THE PHILIP AARONS 20 TH CENTURY DESIGN AND CRAFT LIBRARY GENERAL WORKS 1 AGIUS, PAULINE. British Furniture, 1880-1915. 195, (1)pp. Prof. illus. 4to. Cloth. D.j. Woodbridge (The Antique Collectors’ Club), 1978. 2 AKRON. THE AKRON ART INSTITUTE. Why Is an Object: An Exhibition Investigating Motivation and Purpose. Sept.- Nov. 1962. Text by Luke Lietzke and the artists. (32)pp. 15 plates. Sm. oblong 4to. Wraps. Josef Albers, Leonard Baskin, Wharton Esherick, Trude Guermonprez, Edith Heath, Margo Hoff, Gideon Kramer, Jack Lenor Larsen, Miriam Leefe, George Nakashima, Robert Sperry, Lenore Tawney, Peter Voulkos, Marguerite Wildenhain, George Wells. Akron, 1962. 3 AKRON. AKRON ART INSTITUTE. Young Designers 1953. March-April 1953. (16)pp. Prof. illus. Sm. sq. 4to. Wraps. Library stamp. Akron, 1953. 4 AKRON. AKRON ART MUSEUM. Off the Production Line. An invitational exhibition of products designed for industry for you. Feb.-March 1956. (28)pp. 55 illus. Oblong 4to. Self-wraps. Akron, 1956. 5 ALBUQUERQUE. UNIVERSITY OF NEW MEXICO. ART MUSEUM. Crafts: National Invitational Exhibition. April-May 1968. 23, (1)pp. Prof. illus. 4to. Wraps. Albuquerque, 1968. 6 ALBUQUERQUE. UNIVERSITY OF NEW MEXICO. -
Oral History Interview with Paula Colton Winokur, 2011 July 21-22
Oral history interview with Paula Colton Winokur, 2011 July 21-22 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Paula Winokur on July 21 and July 22, 2011. The interview took place at the Artist's home and studio in Horsham, Pennsylvania, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Paula Winokur and Mija Riedel have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Paula Winokur at the artist’s home and studio in Horsham, Pennsylvania, on July 21, 2011, for the Smithsonian's Archives of American Art. This is card number one. So we’ll dispense with some of the biographical information first, and then move into – [inaudible] – itself and teaching. When and where were you born? PAULA WINOKUR: I was born in Philadelphia in 1935. MS. RIEDEL: What was the date? MS. WINOKUR: Oh, May 13. May 13, 1935, so I was considered a Depression baby. MS. RIEDEL: And your parents' names? MS. WINOKUR: My mother was Elizabeth Blumenthal Colton, C-O-L-T-O-N. -
Office of Public Information Photographs: 1950-1989 PUB.001.002
http://oac.cdlib.org/findaid/ark:/13030/c84m991j No online items Office of Public Information photographs: 1950-1989 PUB.001.002 Finding aid prepared by This finding aid was created by Natalie de Almeida and Hannah Moshier Los Angeles County Museum of Art Balch Art Research Library 5905 Wilshire Blvd. Los Angeles, CA, 90036 323-857-6118 [email protected] 6/3/2014 Office of Public Information PUB.001.002 1 photographs: 1950-1989 PUB.001.002 Title: Office of Public Information photographs Identifier/Call Number: PUB.001.002 Contributing Institution: Los Angeles County Museum of Art Balch Art Research Library Language of Material: English Physical Description: 24.6 Linear feet59 Hollinger boxes Date (bulk): Bulk, 1960-1975 Date (inclusive): 1944-1989 creator: Los Angeles County Museum of Art Photographic Services Department. creator: Los Angeles County Museum of Art. Public Information Office. Biographical/Historical note These photographs and records were most likely compiled by or for the Office of Public Information of the Los Angeles County Museum of Art (LACMA) for reference and publicity use. The bulk of these photographs were created by the Los Angeles County Museum of Art Photo Services department. The Photos Services Department fulfilled requests for photographs from museum departments to perform original photography or provide reproductions of existing photography of museum events, staff, art objects, and installations for the purposes of reference, to produce publications, for publicity, and other purposes. LACMA has had its own photography department since at least 1964 when staff documented the move of the museum's art collections from Exhibition Park to its location on Wilshire Boulevard.