Chronological List of Exhibitions & Publications
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Postmodernism
Black POSTMODERNISM STYLE AND SUBVERSION, 1970–1990 TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 1 Black Black POSTMODERNISM STYLE AND SUBVERSION, 1970–1990 TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 Edited by Glenn Adamson and Jane Pavitt V&A Publishing TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 2 3 Black Black Exhibition supporters Published to accompany the exhibition Postmodernism: Style and Subversion, 1970 –1990 Founded in 1976, the Friends of the V&A encourage, foster, at the Victoria and Albert Museum, London assist and promote the charitable work and activities of 24 September 2011 – 15 January 2012 the Victoria and Albert Museum. Our constantly growing membership now numbers 27,000, and we are delighted that the success of the Friends has enabled us to support First published by V&A Publishing, 2011 Postmodernism: Style and Subversion, 1970–1990. Victoria and Albert Museum South Kensington Lady Vaizey of Greenwich CBE London SW7 2RL Chairman of the Friends of the V&A www.vandabooks.com Distributed in North America by Harry N. Abrams Inc., New York The exhibition is also supported by © The Board of Trustees of the Victoria and Albert Museum, 2011 The moral right of the authors has been asserted. -
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. -
Fiscal Year 2007 Annual Report (PDF)
Penland School of Crafts Annual Report Fiscal Year 2006 – 2007 Penland’s Mission The mission of Penland School of Crafts is to support individual and artistic growth through craft. The Penland Vision Penland’s programs engage the human spirit which is expressed throughout the world in craft. Penland enriches lives by teaching skills, ideas, and the value of the handmade. Penland welcomes everyone—from vocational and avocational craft practitioners to interested visitors. Penland is a stimulating, transformative, egalitarian place where people love to work, feel free to experiment, and often exceed their own expectations. Penland’s beautiful location and historic campus inform every aspect of its work. Penland’s Educational Philosophy Penland’s educational philosophy is based on these core ideas: • Total immersion workshop education is a uniquely effective way of learning. • Close interaction with others promotes the exchange of information and ideas between individuals and disciplines. • Generosity enhances education—Penland encourages instructors, students, and staff to freely share their knowledge and experience. • Craft is kept vital by preserving its traditions and constantly expanding its boundaries. Cover Information Front cover: this pot was built by David Steumpfle during his summer workshop. It was glazed and fired by Cynthia Bringle in and sold in the Penland benefit auction for a record price. It is shown in Cynthia’s kiln at her studio at Penland. Inside front cover: chalkboard in the Pines dining room, drawing by instructor Arthur González. Inside back cover: throwing a pot in the clay studio during a workshop taught by Jason Walker. Title page: Instructors Meg Peterson and Mark Angus playing accordion duets during an outdoor Empty Bowls dinner. -
Download New Glass Review 08
The Corning Museum of Glass NewGlass Review 8 The Corning Museum of Glass Corning, New York 1987 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dal3 sie the 1986 calendar year. innerhalb des Kalenderjahres 1986 entworfen und gefertigt wurden. For additional copies of New Glass Review Zusatzliche Exemplare des New Glass Review please contact: konnen angefordert werden bei: Sales Department The Corning Museum of Glass One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1987 Alle Rechtevorbehalten, 1987 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Dusseldorf FRG Gedruckt in Dusseldorf, Bundesrepublik Deutschland Standard Book Number 0-: 1-116-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Kongref3-Bucherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements and Comments/Statements und Kommentar der Jury 4 Artists and Objects/Kunstler und Objekte 9 Doug Anderson's Finders Creepers 30 Bibliography/Bibliographie 33 A Selective Index of Proper Names and Places/ Verzeichnis der Eigennamen und Orte 35 Countries RepresentedA/ertretene Lander 68 ch mag die Arbeit von Mark Lorenzi - jedenfalls mag ich das, was Jury Statements Imir das Dia davon wiedergibt. Diese Farben passen auffallend gut zu- sammen, und Hohe und Starke der Mauer scheinen erstaunlich, aber genau richtig fur diesen Durchmesser. Das Objekt kann ebenso gut ein like Mark Lorenzi's piece - at least I like what the slide tells me about it. -
Fiscal Year 2011 Annual Report (PDF)
Penland School of Cra fts Annual Report Fiscal Year 2011 May – April Penland School of Crafts Penland School of Crafts is a national center for craft education located in North Carolina’s Blue Ridge Mountains. Penland’s focus on excel - lence, its long history, and its inspiring retreat setting have made it a model of experiential education. The school offers workshops in books and paper, clay, drawing and painting, glass, iron, metals, photography, printmaking and letterpress, textiles, wood, and other media. Penland sponsors artist residencies, a gallery and visitors center, and community education programs. Penland School of Crafts is a nonprofit, tax-exempt institution. Penland’s Mission The mission of Penland School of Crafts is to support individual and artistic growth through craft. The Penland Vision Penland is committed to providing educational programs in a total-immersion environment that nurtures individual creativity. Penland’s programs embrace traditional and contemporary approaches that respect materials and techniques while encouraging conceptual explo - ration and aesthetic innovation. Cover Information Front cover: Adrift (detail), recycled letterpress type, wire, fabricated steel, cast bronze; this piece, by core fellow Jessica Heikes, was part of The Core Show 2010 at the Penland Gallery. To see more of Jessica’s work, visit jessicaheikes.com. Back cover: Student Eli Corbin working on a monotype in the print studio. Inside front cover: The Penland auction tent during Friday night of the Annual Benefit Auction. Inside back cover: Student Ben Grant using a lathe in the wood studio. Annual Report Credits Editor: Robin Dreyer; design: Leslie Noell; writing: Robin Dreyer, Jean McLaughlin, Wes Stitt; assistance: Kate Boyd, Mike Davis, Stephanie Guinan, Tammy Hitchcock, Polly Lórien, Nancy Kerr, Susan McDaniel, Jean McLaughlin, Jennifer Sword, Wes Stitt; photographs: Robin Dreyer, except where noted. -
From the Director
2019 Haystack Campus, Montville, Maine, August 1955. Photo by Walter Holt FROM THE DIRECTOR This summer, the Portland Museum of Art will structure of learning is horizontal, with students and present the exhibition In the Vanguard: Haystack faculty working side by side to exchange ideas and Mountain School of Crafts, 1950-69. Organized by make new discoveries. co-curators Rachael Arauz and Diana Greenwold, this While the world has changed significantly, the core exhibition represents four years of research and is the of our work and the ideals we adhere to have stayed first of its kind to provide an overview of the founding very much the same. Our greatest hope is that the years of the school. experimentation and risk-taking that defined the To have our story told in this way has been an founding of the school continue to underscore incredible privilege and we could not be more excited the work we do today. Looking ahead to our 70th about the project and the research that has led up to anniversary, this exhibition feels like a defining it. The show will present archival materials such as moment that allows us to step back and think about original correspondence, photographs, brochures, the quiet and profound ways in which Haystack posters, magazine articles, and ephemera, alongside has helped shape American art and culture. The objects created during the same time period by exhibition is also a beautiful reminder that people prominent makers who taught and studied at coming to the school today are helping to create the Haystack. Much of this material has never been next chapter in a story continually unfolding in rich published and will be included in a catalogue and unexpected ways. -
Annual Report
Annual Report / Fiscal Year 2014 / May 2013 – April 2014 Penland School of Crafts Front cover: The Barns complex houses the studios and Penland School of Crafts is an international center for craft some of the living spaces of Penland’s resident artists. This education dedicated to helping people live creative lives. photograph shows the end of one of the buildings —which Located in North Carolina’s Blue Ridge Mountains, the was a dairy barn in a former life—looking into the studios of school offers workshops in books and paper, clay, drawing wood sculptor Tom Shields and weaver Robin Johnston. The and painting, glass, iron, metals, photography, printmaking year 2013 marked the fiftieth anniversary of the founding of and letterpress, textiles, wood, and other media. Penland the resident artist program. also offers artist residencies, a gallery and visitors center, and community education programs. Penland’s focus on Back cover: Firing the wood kiln late at night. excellence, its long history, and its inspiring retreat setting have made it a model of experiential education. Penland School of Crafts is a nonprofit, tax-exempt institution. Annual Report Credits Editor: Robin Dreyer; design: Eleanor Annand; writing: Penland’s Mission Elaine Bleakney, Robin Dreyer, Jean McLaughlin; assis- The mission of Penland School of Crafts is to support indi- tance: Elaine Bleakney, Marie Fornaro, Joan Glynn, Tammy vidual and artistic growth through craft. Hitchcock, Polly Lórien, Nancy Kerr, Susan McDaniel, Jean McLaughlin; photographs: Robin Dreyer, except where The Penland Vision noted. Penland is committed to providing educational programs in a total-immersion environment that nurtures individual creativity. -
Annual Report/ Fiscal Year 2016 / May 2015
Annual Report / Fiscal Year 2016 / May 2015 – April 2016 Penland School of Crafts Penland School of Crafts is an international center for craft education dedicated to Front cover: Participants in the spring helping people live creative lives. Located in North Carolina’s Blue Ridge Mountains, 2016 wood concentration, taught by Raivo the school offers workshops in books and paper, clay, drawing and painting, glass, iron, Vihman, pose with the partially-completed metals, photography, printmaking and letterpress, textiles, wood, and other media. timber frame structure they built to house Penland also offers artist residencies, a gallery and visitors center, and community Penland’s historic Travelog. The 1930 education programs. Penland’s focus on excellence, its long history, and its inspiring Model AA Ford pickup truck is like the retreat setting have made it a model of experiential education. Penland School of Crafts one Penland founder Lucy Morgan took to is a nonprofit, tax-exempt institution. the 1933 world’s fair in Chicago. After this picture was taken, the truck was outfitted Penland’s Mission with the tiny log cabin that served as a Penland School of Crafts supports individual and artistic growth through creative practice sales booth for Penland-made goods at and discovery. the fair. That cabin, in storage for many years, has been reconstructed and sits on The Penland Vision the truck in the finished structure. (See Penland School of Crafts is committed to providing educational programs in a total-im- page 43.) mersion environment that nurtures individual creativity. Penland’s programs embrace traditional and contemporary approaches, balancing respect for materials and techniques Above: In a summer 2015 workshop, with exploration and innovation. -
A Finding Aid to the Arline M. Fisch Papers, 1931-2015, in the Archives of American Art
A Finding Aid to the Arline M. Fisch Papers, 1931-2015, in the Archives of American Art Sarah Mundy 2018/06/11 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 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Awards and Certificates, 1961-2001......................................................... 5 Series 2: Correspondence, 1956-2003.................................................................... 6 Series 3: Exhibition Files, 1957-2010...................................................................... 7 Series 4: Gallery Files, 1968-2010.......................................................................... -
Furniture That Winks: Wit and Conversation In
Furniture that Winks: Wit and Conversation in Postmodern Studio Furniture, 1979-1989 Julia Elizabeth T. Hood Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2011 This work was supported by a Craft Research Fund grant from The Center for Craft, Creativity and Design, a center of UNC Asheville. © 2011 Julia Elizabeth T. Hood All Rights Reserved Table of Contents List of Illustrations ii Acknowledgements iv Introduction 1 Chapter 1: Rejecting Modernism in Craft Furniture 13 Chapter 2: New Purpose for Furniture: Communicating Ideas 40 Chapter 3: A Return to History with Irony: Historicism in Craft Furniture 55 Chapter 4: What is Real?: Perception and Reality, Simulacra and Illusion 72 Conclusion 89 Notes 93 Selected Bibliography 119 Illustrations 123 i List of Illustrations* Figure 1. Garry Knox Bennet, Nail Cabinet, 1979. ....................................................... 123 Figure 2. Nail Cabinet door frame illustration. .............................................................. 123 Figure 3. Trade illustration of a Katana bull-nose router bit.......................................... 123 Figure 4. James Krenov, Jewelry Box, 1969. ............................................................... 123 Figure 5. Detail of Figure 4. .......................................................................................... 123 Figure 6. Tommy Simpson, Man -
Fullercraft Museum TM Let the Art Touch You
fullerCRAFT museum TM Let the art touch you Annual Report 2014 july 1, 2013 – june 30, 2014 exhibitions Galleries in Fuller Craft Museum over the past year were filled with sixteen lively exhibitions that attest to the creative energies and talents of curatorial and support staff. Nowhere else on the Atlantic seaboard is there a craft museum that produces as many exhibitions with such diversity of media and clarity of concepts as this museum. Made in Massachusetts: Studio Furniture of the Bay State, Reversible Reactions: Art Meets Science @ The MIT Glass Lab, Machines and Mechanizations: Explorations in Contemporary Kinetic Sculpture, and The Stories We Tell: Works by Tommy Simpson, Michelle Holzapfel, and Binh Pho were some of the more popular exhibitions. Fuller Craft Museum continues to build on its reputation for excellence in exhibitions nationwide. Exhibitions that closed in FY2014: All Things Considered VII: National Basketry Organization Juried Exhibition Sharing Inspiration: Work by Fuller Craft Museum Docents November 23, 2013 – February 23, 2014 March 12, 2013 – July 7, 2013 Machines and Mechanizations: Explorations in Bojagi and Beyond Contemporary Kinetic Sculpture October 6, 2013 – January 26, 2014 February 2, 2014 – June 1, 2014 Made in Massachusetts: SMARTS, Southeastern Massachusetts Arts Collaborative Studio Furniture of the Bay State February 9, 2014 – February 23, 2014 October 12, 2013 – February 9, 2014 The Stories We Tell: Works by Tommy Simpson, Michelle Across the Grain: Turned and Carved Wood Holzapfel, and Binh -
Oral History Interview with Helen Z. Shirk, 2012 July 29
Oral history interview with Helen Z. Shirk, 2012 July 29 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Transcription of this oral history interview was made possible by a grant from the Smithsonian Women's Committee. 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 Helen Shirk on July 29, 2012. The interview took place in the artist's home studio La Mesa, California, and was conducted by Jo Lauria 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. Helen Shirk has reviewed the transcript. Her heavy corrections and emendations appear below in brackets with initials. 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 JO LAURIA: This is the Archives of American Art, interviewing Helen Shirk. And it's Jo Lauria, interviewer. The day is Sunday, July 29. We are at Helen's home studio in La Mesa, California. And this is tape number 1, session 1. So, Helen, we will begin with the beginning of your career and life with the, you know, beginning questions. When and where were you born? HELEN SHIRK: I was born in Buffalo, New York in 1942.