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University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley. -
Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis. -
THE CLEVELAND MUSEUM of ART ANNUAL REPORT 2002 1 0-Cover.P65 the CLEVELAND MUSEUM of ART
ANNUAL REPORT 2002 THE CLEVELAND MUSEUM OF ART THE CLEVELAND MUSEUM OF ART REPORT 2002 ANNUAL 0-Cover.p65 1 6/10/2003, 4:08 PM THE CLEVELAND MUSEUM OF ART ANNUAL REPORT 2002 1-Welcome-A.p65 1 6/10/2003, 4:16 PM Feathered Panel. Peru, The Cleveland Narrative: Gregory Photography credits: Brichford: pp. 7 (left, Far South Coast, Pampa Museum of Art M. Donley Works of art in the both), 9 (top), 11 Ocoña; AD 600–900; 11150 East Boulevard Editing: Barbara J. collection were photo- (bottom), 34 (left), 39 Cleveland, Ohio Bradley and graphed by museum (top), 61, 63, 64, 68, Papagayo macaw feathers 44106–1797 photographers 79, 88 (left), 92; knotted onto string and Kathleen Mills Copyright © 2003 Howard Agriesti and Rodney L. Brown: p. stitched to cotton plain- Design: Thomas H. Gary Kirchenbauer 82 (left) © 2002; Philip The Cleveland Barnard III weave cloth, camelid fiber Museum of Art and are copyright Brutz: pp. 9 (left), 88 Production: Charles by the Cleveland (top), 89 (all), 96; plain-weave upper tape; All rights reserved. 81.3 x 223.5 cm; Andrew R. Szabla Museum of Art. The Gregory M. Donley: No portion of this works of art them- front cover, pp. 4, 6 and Martha Holden Jennings publication may be Printing: Great Lakes Lithograph selves may also be (both), 7 (bottom), 8 Fund 2002.93 reproduced in any protected by copy- (bottom), 13 (both), form whatsoever The type is Adobe Front cover and frontispiece: right in the United 31, 32, 34 (bottom), 36 without the prior Palatino and States of America or (bottom), 41, 45 (top), As the sun went down, the written permission Bitstream Futura abroad and may not 60, 62, 71, 77, 83 (left), lights came up: on of the Cleveland adapted for this be reproduced in any 85 (right, center), 91; September 11, the facade Museum of Art. -
Architecture Art in Architecture Art by Architects Architect Six Texas Museums Mansbendel, Woodcarver N0
In this issue: Design: Art or Object? Texas Art and Architecture Art in Architecture Art by Architects Architect Six Texas Museums Mansbendel, Woodcarver N0. 1 VOL. 28 JAN./ FEB. 1978 Contents 3 Tnas Archlttct is the official pubhcalion or The Texas Sociely or Archnecl\. TSA is lhe omcial or Design: Work of Art or aaniuuon .,r the Texas Rea,on or lhe American ln ,11,ute or Arch11ec1,. Working Object? .. 10 Des Taylor Editor-In-Chief A report 011 the A I A DeiiR11 Co11- Larry Paul Fuller Managing Editor f ere11ce in Warhingron D.C.. where Michael McCullnr Associate Editor John I a,h Advertising Director that regulllrly posed queHion wm Kay Payne Circulation Manager left 11n,1111wercd once ,1~ain. llydcr Jo,cph Brown, AIA E:dilorial Con,ultant Art and Arch itecture: Editorial Policy Committee Rivalry or Symbiosis? . .. 14 Mort I cvy. Chairman Jack E. Mee~ J,1d, Craycroh Jack M11<hdl A look at an apparent dil•,•rR<'IICe < r.111,t K,·nn,·d~ Jim Fo,h.·1 of l'iewpoint between arti.rt Pt\. l nrcnntrn I nrry Cinou and architect. Hn,n ,on n~u,t.·\ Tn11r Arr/111tct i, published ~ix time• yearly by the Art in Architecture: le,." S.m<ty or Arch11ecl\, 2121 Auslln Na1lo113I Does it Fit? 18 Bank Tower, Conarcss at Sixth, Austln, Texas 78701 1 clcphone ~ 12 •478-7'86. Sub,cription price is S6.00 A II a11alysir of large-.rc,ilt• art a11d per yc.ir for addr"\e, wnhin the con11nentnl Uniled itr role in em•iro11me11tal deri(l11. -
Textile Society of America Newsletter 29:2 — Fall 2017 Textile Society of America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2017 Textile Society of America Newsletter 29:2 — Fall 2017 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Materials Conservation Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Industrial and Product Design Commons, Interdisciplinary Arts and Media Commons, and the Metal and Jewelry Arts Commons Textile Society of America, "Textile Society of America Newsletter 29:2 — Fall 2017" (2017). Textile Society of America Newsletters. 80. https://digitalcommons.unl.edu/tsanews/80 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 29. NUMBER 2. FALL 2017 Photo Credit: Tourism Vancouver See story on page 6 Newsletter Team BOARD OF DIRECTORS Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of Communications) Designer: Meredith Affleck Vita Plume Member News Editor: Caroline Charuk (TSA General Manager) President [email protected] Editorial Assistance: Natasha Thoreson and Sarah Molina Lisa Kriner Vice President/President Elect Our Mission [email protected] Roxane Shaughnessy The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for Past President the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, [email protected] political, social, and technical perspectives. Established in 1987, TSA is governed by a Board of Directors from museums and universities in North America. -
Workshops Open Studio Residency Summer Conference
SUMMER 2020 HAYSTACK MOUNTAIN SCHOOL OF CRAFTS Workshops Open Studio Residency Summer Conference Schedule at a Glance 4 SUMMER 2020 Life at Haystack 6 Open Studio Residency 8 Session One 10 Welcome Session Two This year will mark the 70th anniversary of the 14 Haystack Mountain School of Crafts. The decision to start a school is a radical idea in and Session Three 18 of itself, and is also an act of profound generosity, which hinges on the belief that there exists something Session Four 22 so important it needs to be shared with others. When Haystack was founded in 1950, it was truly an experiment in education and community, with no News & Updates 26 permanent faculty or full-time students, a school that awarded no certificates or degrees. And while the school has grown in ways that could never have been Session Five 28 imagined, the core of our work and the ideas we adhere to have stayed very much the same. Session Six 32 You will notice that our long-running summer conference will take a pause this season, but please know that it will return again in 2021. In lieu of a Summer Workshop 36 public conference, this time will be used to hold Information a symposium for the Haystack board and staff, focusing on equity and racial justice. We believe this is vital Summer Workshop work for us to be involved with and hope it can help 39 make us a more inclusive organization while Application broadening access to the field. As we have looked back to the founding years of the Fellowships 41 school, together we are writing the next chapter in & Scholarships Haystack’s history. -
The Vienna Method in Amsterdam: Peter Alma's Office for Pictorial Statistics Benjamin Benus, Wim Jansen
The Vienna Method in Amsterdam: Peter Alma’s Office for Pictorial Statistics Benjamin Benus, Wim Jansen The Dutch artist and designer, Peter Alma (see Figure 1), is today remembered for his 1939 Amstel Station murals, as well as for Downloaded from http://direct.mit.edu/desi/article-pdf/32/2/19/1715594/desi_a_00379.pdf by guest on 24 September 2021 his earlier involvement with the Cologne-based Gruppe progres- siver Künstler [Progressive Artists’ Group]. Yet Alma also pro- duced an extensive body of information graphics over the course of the 1930s. Working first in Vienna at the Gesellschafts- und Wirtschaftsmuseum [Social and Economic Museum] (GWM) and later setting up an independent design firm in Amsterdam, Alma became one of the principal Dutch practitioners and promoters of the design approach known as the “Vienna Method of Picto- rial Statistics.” To date, most accounts of this method’s history have focused on its chief inventor, Austrian social scientist Otto Figure 1 Neurath, and his principal collaborators, Germans Marie Neurath August Sander, photograph of Peter Alma, (née Reidemeister) and Gerd Arntz.1 Yet Alma’s work in pictorial late 1920s. Private collection. Reproduced by permission from Sinja L. Alma and statistics also constitutes a substantial chapter in this history, Peter L. Alma. although it has not yet been fully appreciated or adequately docu- mented.2 In addition to providing an account of Alma’s role in the 1 For a detailed history of the Vienna development and dissemination of the Vienna Method, this essay Method, see Christopher Burke, Eric assesses the nature of Alma’s contribution to the field of informa- Kindel, and Sue Walker, eds., Isotype: tion design and considers the place of his pictorial statistics work Design and Contexts, 1925–1971 within his larger oeuvre. -
Oral History Interview with Merry Renk
Oral history interview with Merry Renk Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Merry Renk AAA.renk01 Collection -
Toronto! Welcome to the 118Th Joint Annual Meeting of the Archaeological Institute of America and the Society for Classical Studies
TORONTO, ONTARIO JANUARY 5–8, 2017 Welcome to Toronto! Welcome to the 118th Joint Annual Meeting of the Archaeological Institute of America and the Society for Classical Studies. This year we return to Toronto, one of North America’s most vibrant and cosmopolitan cities. Our sessions will take place at the Sheraton Centre Toronto Hotel in the heart of the city, near its famed museums and other cultural organizations. Close by, you will find numerous restaurants representing the diverse cuisines of the citizens of this great metropolis. We are delighted to take this opportunity of celebrating the cultural heritage of Canada. The academic program is rich in sessions that explore advances in archaeology in Europe, the Table of Contents Mediterranean, Western Asia, and beyond. Among the highlights are thematic sessions and workshops on archaeological method and theory, museology, and also professional career General Information .........3 challenges. I thank Ellen Perry, Chair, and all the members of the Program for the Annual Meeting Program-at-a-Glance .....4-7 Committee for putting together such an excellent program. I also want to commend and thank our friends in Toronto who have worked so hard to make this meeting a success, including Vice Present Exhibitors .......................8-9 Margaret Morden, Professor Michael Chazan, Professor Catherine Sutton, and Ms. Adele Keyes. Thursday, January 5 The Opening Night Public Lecture will be delivered by Dr. James P. Delgado, one of the world’s Day-at-a-Glance ..........10 most distinguished maritime archaeologists. Among other important responsibilities, Dr. Delgado was Executive Director of the Vancouver Maritime Museum, Canada, for 15 years. -
Willem Sandberg – Portrait of an Artist – Chapter 6
Willem Sandberg – Portrait of an Artist – Chapter 6 ARTIST ORGANISATION AND RESISTANCE It wasn’t until 1932 that I stuck my head in the life of the Dutch artists organisation. I received a request at that time to become a member of VANK, the Vereiniging voor Ambachts- en Nijverheidskunst – the Association for Trade and Industry Art. I had never heard of the VANK, but I became a member. At a certain moment, I was even an active member and held administrative offices, including a seat in the Committee for non- permanent exhibitions in the Stedelijk Museum – for VANK members and others – and in the Exhibition Committee for the Dutch department at the World Exhibition in Paris. The Chairman of the VANK was Jean-François van Royen, a master typographer and, as we always said, in his spare time secretary-general of the PTT. He was owner of the Cunera Press and that was his real work. This man had, between the two great wars, a positive influence on the whole artist community, the life of the artist association and the position of the artist. First, he had a lot of work to award via the Postal services: for designing postcards or stamps, fitting out post-offices, designing letter boxes and so on. But he extended his influence far beyond this. He had, together with his friend , the architect De Bie Leuvelink Tjeenk, a great influence on the artist association life in this country. Tjeenk was, at the time that I knew him, Chairman of the BNA, the Bond voor Nederlandse Architecten [Association for Dutch Architects]. -
Deliberate Entanglements: the Impact of a Visionary Exhibition Emily Zaiden
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2014 Deliberate Entanglements: The mpI act of a Visionary Exhibition Emily Zaiden [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons, and the Art Practice Commons Zaiden, Emily, "Deliberate Entanglements: The mpI act of a Visionary Exhibition" (2014). Textile Society of America Symposium Proceedings. 887. http://digitalcommons.unl.edu/tsaconf/887 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Deliberate Entanglements: The Impact of a Visionary Exhibition Emily Zaiden Figure 1. Deliberate Entanglements exhibition announcement designed by Timothy Andersen, UCLA Art Galleries, 1971. Courtesy Craft in America Center Archives. In the trajectory of fiber art history, the 1971 UCLA Art Galleries exhibition, Deliberate Entanglements, was exceptional in that it had an active and direct influence on the artistic movement. It has been cited in numerous sources, by participating artists, and by others who simply visited and attended as having had a lasting impact on their careers. In this day and age, it is rare for exhibitions at institutions to play such a powerful role and have a lasting impact. The exhibition was curated by UCLA art professor and fiber program head, Bernard Kester. From his post at UCLA, Kester fostered fiber as a medium for contemporary art. -
Press Release, P
1 Contacts: Karen Frascona Amelia Kantrovitz 617.369.3442 617.369.3447 [email protected] [email protected] MUSEUM OF FINE ARTS, BOSTON, ANNOUNCES MAJOR GIFT OF CONTEMPORARY CRAFT FROM DAPHNE FARAGO COLLECTION BOSTON, MA (January 18, 2013)— The Museum of Fine Arts, Boston (MFA), announces a gift of 161 works from longtime supporter Daphne Farago — the Museum’s largest-ever gift of contemporary craft across a range of media. These 20th- and 21st-century works are among the finest examples of studio craft and represent objects by notable artists, such as fiber artists Anni Albers and Sheila Hicks, sculptor Robert Arneson, glass artist Dale Chihuly, and furniture maker John Cederquist. The gift includes works of fiber (94), ceramics (24), glass (19), turned wood/carvings (11), metal (5), furniture (4), jewelry (2), Structure No. 18: Theory of Lift, basketry (1), and folk art (1). The largest donor of contemporary craft in the Jeanette Marie Ahlgren, 1994 Museum’s history, Mrs. Farago has transformed the MFA’s collection with gifts totaling nearly 950 objects to the Museum in her lifetime. Other significant donations to the MFA by Mrs. Farago include the 2006 gift of more than 650 pieces of contemporary jewelry and the 2004 gift of more than 80 works of contemporary fiber art created by the late Edward Rossbach and Katherine Westphal. "These works illustrate Daphne Farago's vision as a collector — they are part of her personal collection and represent some of the finest, most intellectually and technically ambitious creations in these areas," said Malcolm Rogers, Ann and Graham Gund Director of the MFA.