ANNOUNCING Heatguns, to Makelightweight, and Strong, Colorful Material (Polyesther Fi Be Covered/Glued with High-Tech Modelairplane for Useinearrings, Orpendants
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The Factory of Visual
ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving. -
Lisa Gralnick
Lisa Gralnick (608) 262-0189 (office) (608) 262-2049 (studio) E-mail: [email protected] Education 1980 Master of Fine Arts, State University of New York, New Paltz (Gold and Silversmithing) Major Professors: Kurt Matzdorf and Robert Ebendorf 1977 Bachelor of Fine Arts, Kent State University Major Professors: Mary Ann Scherr and James Someroski Teaching Appointments 2007- present Professor of Art, University of Wisconsin-Madison 2004-2007 Associate Professor of Art, University of Wisconsin-Madison 2001-2004 Assistant Professor of Art, University of Wisconsin-Madison 1991-01 Full-Time Faculty, Parsons School of Design, New York, NY (Chair of Metals /Jewelry Design Program) 1982-83 Visiting Assistant Professor, Head of Jewelry Dept., Nova Scotia College of Art and Design, Halifax 1980-81 Visiting Assistant Professor, Kent State University, Kent, Ohio Grants, Awards, Fellowships, and Honors 2012 Faculty Development Grant, University of Wisconsin-Madison 2012 Kellett Mid-Career Award, University of Wisconsin-Madison 2010 Wisconsin Arts Board Individual Artist Fellowship 2010 Graduate School Faculty Research Grant, University of Wisconsin- Madison 2009 Rotasa Foundation Grant to fund exhibition catalog at Bellevue Arts Museum 2009 Graduate School Faculty Research Grant, University of Wisconsin- Madison 2008 Smithsonian Archives of American Art, Oral Interview (available online) 2008 Graduate School Faculty Research Grant, University of Wisconsin- Madison 2007 Graduate School Faculty Research Grant, University of Wisconsin- Madison -
Exhibit Catalog (PDF)
Mastery in Jewelry & Metals: Irresistible Offerings! Gail M. Brown, Curator Mastery in Jewelry & Metals: Irresistible Offerings! Gail M. Brown, Curator Participating Artists Julia Barello Mary Lee Hu Harriete Estel Berman Michael Jerry Elizabeth Brim Robin Kranitzky & Kim Overstreet Doug Bucci Rebecca Laskin Kathy Buszkiewicz Keith Lewis Harlan W. Butt Charles Lewton-Brain Chunghi Choo Linda MacNeil Sharon Church John Marshall John Cogswell Bruce Metcalf Chris Darway Eleanor Moty Jack DaSilva Tom Muir Marilyn DaSilva Harold O'Connor Robert Ebendorf Komelia Okim Sandra Enterline Albert Paley Fred Fenster Beverly Penn Arline Fisch Suzan Rezac Pat Flynn Stephen Saracino David C. Freda Hiroko Sato-Pijanowski Don Friedlich Sondra Sherman John G. Garrett Helen Shirk Lisa Gralnick Lin Stanionis Gary S. Griffin Billie Theide Laurie Hall Rachelle Thiewes Susan H. Hamlet Linda Threadgill Douglas Harling What IS Mastery? A singular idea, a function, a symbol becomes a concept, a series, a marker- a recognizable visual attitude and identifiable vocabulary which grows into an observation, a continuum, an unforgettable commentary. Risk taking. Alone and juxtaposed….so many ideas inviting exploration. Contrasting moods and attitudes, stimuli and emotional temperatures. Subtle or bold. Serene or exuberant. Pithy observations of the natural and WHAT is Mastery? manmade worlds. The languages of beauty, aesthetics and art. Observation and commentary. Values and conscience. Excess and dearth, The pursuit and attainment, achievement of purpose, knowledge, appreciation and awareness. Heavy moods and childlike insouciance. sustained accomplishment and excellence. The creation of irrepressible, Wisdom and wit. Humor and critique. Reality and fantasy. Figuration important studio jewelry and significant metal work: unique, expressive, and abstraction. -
Exuberance of Color V3.Indd
TANSEY CONTEMPORARY Presents AN EXUBERANCE OF COLOR In Studio Jewelry Curated by Gail M. Brown www.tanseycontemporary.com 1 Contents AN EXUBERANCE OF COLOR In Studio Jewelry curated by Gail M.Brown Contents Julia Barello ..................................................................................................................................... 4 Harriete Estel Berman...................................................................................................................... 9 Jessica Calderwood........................................................................................................................ 12 Arline Fisch ....................................................................................................................................... 16 Donald Friedlich............................................................................................................................... 20 Rebekah Laskin................................................................................................................................ 26 Amy Lemaire.................................................................................................................................... 30 Karen Thuesen Massaro................................................................................................................... 36 Bruce Metcalf................................................................................................................................... 40 Mike & Maaike................................................................................................................................. -
Craft Horizons AUGUST 1973
craft horizons AUGUST 1973 Clay World Meets in Canada Billanti Now Casts Brass Bronze- As well as gold, platinum, and silver. Objects up to 6W high and 4-1/2" in diameter can now be cast with our renown care and precision. Even small sculptures within these dimensions are accepted. As in all our work, we feel that fine jewelery designs represent the artist's creative effort. They deserve great care during the casting stage. Many museums, art institutes and commercial jewelers trust their wax patterns and models to us. They know our precision casting process compliments the artist's craftsmanship with superb accuracy of reproduction-a reproduction that virtually eliminates the risk of a design being harmed or even lost in the casting process. We invite you to send your items for price design quotations. Of course, all designs are held in strict Judith Brown confidence and will be returned or cast as you desire. 64 West 48th Street Billanti Casting Co., Inc. New York, N.Y. 10036 (212) 586-8553 GlassArt is the only magazine in the world devoted entirely to contem- porary blown and stained glass on an international professional level. In photographs and text of the highest quality, GlassArt features the work, technology, materials and ideas of the finest world-class artists working with glass. The magazine itself is an exciting collector's item, printed with the finest in inks on highest quality papers. GlassArt is published bi- monthly and divides its interests among current glass events, schools, studios and exhibitions in the United States and abroad. -
Acknowledgments from the Authors
Makers: A History of American Studio Craft, by Janet Koplos and Bruce Metcalf, published by University of North Carolina Press. Please note that this document provides a complete list of acknowledgments by the authors. The textbook itself contains a somewhat shortened list to accommodate design and space constraints. Acknowledgments from the Authors The Craft-Camarata Frederick Hürten Rhead established a pottery in Santa Barbara in 1914 that was formally named Rhead Pottery but was known as the Pottery of the Camarata (“friends” in Italian). It was probably connected with the Gift Shop of the Craft-Camarata located in Santa Barbara at that time. Like his pottery, this book is not an individual achievement. It required the contributions of friends of the field, some personally known to the authors, but many not, who contributed time, information and funds to the cause. Our funders: Windgate Charitable Foundation / The National Endowment for the Arts / Rotasa Foundation / Edward C. Johnson Fund, Fidelity Foundation / Furthermore: a program of the J. M. Kaplan Fund / The Greenberg Foundation / The Karma Foundation / Grainer Family Foundation / American Craft Council / Collectors of Wood Art / Friends of Fiber Art International / Society of North American Goldsmiths / The Wood Turning Center / John and Robyn Horn / Dorothy and George Saxe / Terri F. Moritz / David and Ruth Waterbury / Sue Bass, Andora Gallery / Ken and JoAnn Edwards / Dewey Garrett / and Jacques Vesery. The people at the Center for Craft, Creativity and Design in Hendersonville, N.C., administrators of the book project: Dian Magie, Executive Director / Stoney Lamar / Katie Lee / Terri Gibson / Constance Humphries. Also Kristen Watts, who managed the images, and Chuck Grench of the University of North Carolina Press. -
Donald Friedlich Curriculum Vitae
Donald Friedlich Curriculum Vitae 2712 Marshall Parkway Phone: 608 280-9151 Madison, WI 53713 Mobile: 608 217-3581 [email protected] DonaldFriedlich.com EDUCATION 1982 Rhode Island School of Design, Providence, Rhode Island B.F.A. Jewelry/Metalsmithing 1975-79 University of Vermont, Burlington, Vermont MUSEUM AND MAJOR PRIVATE COLLECTIONS Victoria and Albert Museum, London, England Smithsonian American Art Museum, Renwick Gallery, Washington, DC Museum of Fine Arts Boston, Boston, Massachusetts Cooper Hewitt, Smithsonian Design Museum, New York, New York Schmuckmuseum, Pforzheim, Germany Museum of Fine Arts Houston, Houston, Texas Corning Museum of Glass, Corning, New York Los Angeles County Museum of Art, Los Angeles, California Montreal Museum of Fine Arts, Montreal, Canada Museum of the Arts and Design, New York, New York Yale Art Museum, Yale University, New Haven, Connecticut Newark Museum of Art, Newark, New Jersey Mint Museum of Craft and Design, Charlotte, North Carolina Racine Art Museum, Racine, Wisconsin Samuel Dorsky Museum of Art, SUNY New Paltz, New Paltz, New York Helen Drutt, Philadelphia, Pennsylvania Garth Clark and Mark Del Vecchio, Santa Fe, New Mexico Daphne Farago, Little Compton, Rhode Island Robert Phannebacker, Lancaster, Pennsylvania PROFESSIONAL ACTIVITIES 1999-2001 President, Society of North American Goldsmiths 1998 President Elect, Society of North American Goldsmiths 2002 Past President, Society of North American Goldsmiths 1999-2019 SOFA/SNAG Lecture Series, Selected speakers and managed the program 2003-08 -
The Grizzly, November 6, 1990
Ursinus College Digital Commons @ Ursinus College Ursinus College Grizzly Newspaper Newspapers 11-6-1990 The Grizzly, November 6, 1990 Krishni Patrick Ursinus College Mark Wilhelms Ursinus College Sara Jacobson Ursinus College Becky Carreon Ursinus College Cassandra Yutzy Ursinus College See next page for additional authors Follow this and additional works at: https://digitalcommons.ursinus.edu/grizzlynews Part of the Cultural History Commons, Higher Education Commons, Liberal Studies Commons, Social History Commons, and the United States History Commons Click here to let us know how access to this document benefits ou.y Recommended Citation Patrick, Krishni; Wilhelms, Mark; Jacobson, Sara; Carreon, Becky; Yutzy, Cassandra; Lunt, Jen; Grim, Katherine; Johnson, Terri; White, Kristen; Miller, Melisa; Hajian, Eleanore; Becker, Matt; Spence, Brian; Koser, Todd; Schafer, Neil; Heinzinger, Chris; Grubb, Steven; Case, Jennie; Koch, Nancy; Strawbridge, Jennifer; Woytek, Judd; and Hallinger, Mark, "The Grizzly, November 6, 1990" (1990). Ursinus College Grizzly Newspaper. 263. https://digitalcommons.ursinus.edu/grizzlynews/263 This Book is brought to you for free and open access by the Newspapers at Digital Commons @ Ursinus College. It has been accepted for inclusion in Ursinus College Grizzly Newspaper by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Authors Krishni Patrick, Mark Wilhelms, Sara Jacobson, Becky Carreon, Cassandra Yutzy, Jen Lunt, Katherine Grim, Terri -
Bachelor of Science in Art History and Theory Thesis Ken Price & the Egg Series Phenomenal Transgressions in Post-War Cerami
Bachelor of Science in Art History and Theory Thesis Ken Price & The Egg Series Phenomenal Transgressions in Post-war Ceramics Maxwell Mustardo Submitted in partial satisfaction of the requirement for the degree of Bachelor of Science in Art History and Theory, School of Art and Design Division of Art History New York State College of Ceramics at Alfred University Alfred, New York 2017 Maxwell Amadeo Kennedy Mustardo, BS Mary Drach McInnes, Thesis Advisor Kenneth Martin Price (1935-2012) was a key protagonist in moving ceramics into the avant-garde realm during the 1960s. At this time, Price made his first major contribution to the expanding field of ceramic sculpture with his Egg series. This series represents a significant breakthrough in ceramic sculpture by transgressing the traditions and processes of mid-century ceramics. Post-war ceramic conventions were generally dominated by the craft theories of the folk pottery movement. During the 1950s, Peter Voulkos and others had begun making interventions aimed at broadening ceramic practices, but relied upon the techniques and processes of the very practices they were challenging. Price’s Egg series, which he made while in league with Los Angeles’ revolutionary Ferus Gallery, pushed Voulkos’ explorations of clay beyond the limitations of ceramic traditions and processes. My thesis offers critical and contextual analyses of the Egg series by interrogating its significance to broader trends in American post-war ceramics. By the time of Price’s death in 2012, his prolific fifty-year career solidified him as one of the key protagonists of 20th century ceramic art. Price was born in 1935 in Los Angeles and studied at the University of Southern California, the Otis Institute, and Alfred University during the 1950s for his undergraduate and graduate studies. -
Using Art: a Theory of Contemporary Ceramics
Using Art: A Theory of Contemporary Ceramics Erik Scollon Table of Contents Introduction ....................................................................................... 3 Influences on American Ceramics Before Mid-Twentieth Century .... 9 Bernard Leach- The Art of Being a Potter ........................................ 12 William Staite Murray- Pottery as Art .............................................. 15 Setting the Stage for Revolution ...................................................... 18 Peter Voulkos ................................................................................... 20 Robert Arneson- No Return to Utility ............................................... 23 The ExPanded Field of Ceramics ...................................................... 27 Relational Qualities of Ceramics ...................................................... 36 Erik Scollon [email protected] www.erikscollon.com Conclusion ........................................................................................ 44 Introduction Ceramics might be the only art form that is comPletely sure of itself. Although some may claim that ceramics is under theorized and lacks critical rigor, ‘ceramics’ as a category does not suffer an identity crisis. Put it in a kiln, turn it uP to two thousand degrees Fahrenheit, and if there is nothing left the next day, it isn’t ceramics. Preface In contradistinction to other forms of artistic Practice, no one has decried “the end of ceramics,” the way critics have This thesis is written from the perspective -
OSSI ~ but GAS KILNS from 2 Cu
I'D? -SAY- Î14AT- ö.Crmios/JS l.TrtE '^WOiMf'S . g M09T • fâsowàïiwe \ '«OSSI ~ BUT GAS KILNS from 2 cu. ft. to 60 cu. ft. All fire to 2500 F — some to 3000 F. Instrumentation for temperature control and a positive con- trol of atmosphere from highly oxidizing to reducing. ELECTRIC KILNS from 2 cu. ft. to 24 cu. ft. Front loading or top loading, — all models fire to 2350 F — some to 2800 F. Fully instrumented. POTTERY WHEELS come in several models, including an electroni- cally controlled variable speed wheel with constant torque. But re- member we still make the old "KICK WHEEL" too for those who prefer it. See our catalog for WARE TRUCKS, FORMULATING TABLES, GLAZE SPRAY BOOTHS, PUG MILLS, BALL MILLS, and many other items for classroom, shop, and studio. Our catalog illustrates a complete line of equipment to go with these kilns. Also available free of charge is our book- craft horizons January/February 1970 Vol. XXX No. 1 4 The Craftsman's World 8 Countercues 9 Calendar 10 Where to Show 11 Books 12 Letters 13 Our Contributors 14 The Listening Eye by Ann McMillan 20 The Jewelry of Art Smith 24 The Scholtens: Artist-Weavers by Bernardine de Neeve 30 African Travelogue: Part II by Margaret Merwin Patch 36 The Ceramics of Robert Arneson by David Zack 42 Exhibitions Next Issue: The March/April CRAFT HORIZONS will feature The John- son Collection, "Objects: USA," Part II, by poet John Ashbery, executive editor of Art News. The Cover: "Well—yes, I'd say that ceramics is the world's most fascin- ating hobby—but . -
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.