Fiscal Year 2007 Annual Report (PDF)
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20Th Century Art & Design Auction September 9 • Sale Results
20th Century Art & Design Auction September 9 • Sale Results * The prices listed do not include the buyers premium. Results are subject to change. unsold $ Lot # Title high bid 088 Rookwood vase, incised and painted stylized floral 950 Darling 275 00 Gustav Stickley Morris chair, #336 0000 09 Hampshire bowl, organic green matt glaze 200 70 Frank J. Marshall box 200 002 Gustave Baumann woodblock, 5000 092 Pewabic vase, shouldered hand-thrown shape 850 7 Indiana Engraving Company print 600 004 Arts & Crafts tinder box, slanted lift top 650 093 Van Briggle vase, ca. 907-92, squat form 550 72 Hiroshige (Japanese 796-858), colorful woodblock print 005 Rookwood vase, geometric design 325 094 Hull House bowl, low form 200 600 006 Arts & Crafts graphic, 350 095 Rookwood vase, three-handled form 300 73 Arts & Crafts wall hanging, wood panel 400 007 Limbert bookcase, #358, two door form 2200 096 Gustav Stickley Chalet desk, #505 2200 74 Hiroshige (Japanese 796-858), colorful woodblockw/ 008 Gustav Stickley china cabinet 800 097 Gustav Stickley bookcase, #75 2600 Kunihisa Utagawa 450 009 Weller Coppertone vase, flaring form 250 098 Gustav Stickley china cabinet, #85 5500 75 Gustav Stickley desk, #720, two drawers 800 00 Armen Haireian vase, 275 00 Shreve blotter ends, attribution, hammered copper 400 76 Rookwood vase, bulbous shape covered in a green matt 011 Grueby vase, rare light blue suspended matt glaze 400 0 Arts & Crafts table runner, embroidered poppy designs 350 glaze 1100 02 Van Briggle tile, incised and painted landscape 200 02 Arts & Crafts blanket chest 950 77 Gustav Stickley sideboard, #89, three drawers 5000 03 Fulper vase, large tapering form 425 04 Heintz desk set, 325 78 Arts & Crafts tabouret, hexagonal top 400 04 Van Briggle tile, incised and painted landscape 2300 05 Navajo rug, stylized diamond design 450 79 Gustav Stickley Thornden side chair, #299 75 05 Newcomb College handled vessel, bulbous shape 300 06 L & JG Stickley dining chairs, #800, set of six 2000 80 Arts & Crafts tabouret, octagonal top 375 06 Van Briggle vase, ca. -
Curriculum Vitae Ezra Shales, Ph.D. [email protected] Professor
Curriculum Vitae Ezra Shales, Ph.D. [email protected] Professor, Massachusetts College of Art and Design Publications Books Holding Things Together (in process) Revised editions and introductions to David Pye, Nature and Art of Workmanship (1968) and Pye, Nature and Aesthetics of Design (1964) (Bloomsbury Press, 2018) The Shape of Craft (Reaktion Books, anticipated publication Winter 2017-2018) Made in Newark: Cultivating Industrial Arts and Civic Identity in the Progressive Era (Rutgers University Press, 2010) Peer-Reviewed Scholarly Publications “Craft” in Textile Terms: A Glossary, ed. Reineke, Röhl, Kapustka and Weddigen (Edition Immorde, Berlin, 2016), 53-56 “Throwing the Potter’s Wheel (and Women) Back into Modernism: Reconsidering Edith Heath, Karen Karnes, and Toshiko Takaezu as Canonical Figures” in Ceramics in America 2016 (Chipstone, 2017), 2-30 “Eva Zeisel Recontextualized, Again: Savoring Sentimental Historicism in Tomorrow’s Classic Today” Journal of Modern Craft vol. 8, no. 2 (November 2015): 155-166 “The Politics of ‘Ordinary Manufacture’ and the Perils of Self-Serve Craft,” Nation Building: Craft and Contemporary American Culture (Smithsonian American Art Museum, 2015), 204-221 “Mass Production as an Academic Imaginary,” Journal of Modern Craft vol. 6, no. 3 (November 2013): 267-274 “A ‘Little Journey’ to Empathize with (and Complicate) the Factory,” Design & Culture vol. 4, no. 2 (Summer 2012): 215-220 “Decadent Plumbers Porcelain: Craft and Modernity in Ceramic Sanitary Ware,” Kunst Og Kultur (Norwegian Journal of Art and Culture) vol. 94, no. 3 (Fall 2011): 218-229 “Corporate Craft: Constructing the Empire State Building,” Journal of Modern Craft vol. 4, no. 2 (July 2011): 119-145 “Toying with Design Reform: Henry Cole and Instructive Play for Children,” Journal of Design History vol. -
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. -
Ghana's Glass Beadmaking Arts in Transcultural Dialogues
Ghana’s Glass Beadmaking Arts in Transcultural Dialogues Suzanne Gott PHOTOS BY THE AUTHOR EXCEPT WHERE OTHERWISE NOTED hanaian powder-glass beads first captured spread of West African strip-weaving technologies. my attention in 1990, when closely examin- With the beginnings of European maritime trade in the late ing a strand of Asante waist beads purchased fifteenth century, an increasing volume of glass beads and glass in Kumasi’s Central Market. Looking at the goods were shipped to trade centers along present-day Ghana’s complex designs of different colored glasses, Gold Coast,1 stimulating the growth of local beadworking and I was struck with the realization that each powder-glass beadmaking industries. The flourishing coastal bead had been skillfully and painstakingly crafted. This seem- trade achieved a more direct engagement between European Gingly humble and largely unexamined art merited closer study merchants and trading communities than had been possible and greater understanding (Fig. 1). I worked with Christa Clarke, with the trans-Saharan trade, and enhanced European abilities Senior Curator for the Arts of Global Africa at the Newark to ascertain and respond to local West African consumer pref- Museum, to develop the 2008–2010 exhibition “Glass Beads of erences. This interactive trade environment also facilitated the Ghana” at the Newark Museum to introduce the general public impact of the demands of Gold Coast consumers on European to this largely overlooked art (Fig. 2). The following study pro- product design and production, a two-way dynamic similar to vides a more in-depth examination of Ghanaian glass beadmak- the trade in African-print textiles (Nielsen 1979; Steiner 1985). -
Glass Pavilion Floorplan
MyGuide A Monroe Street Lobbey Dale Chihuly, Chandelier: Campiello del Remer #2, 1996/2006 Dale Chihuly’s “chandelier” greets visitors at the Monroe Street entrance. Chihuly’s team installed the 1300-pound hanging sculpture so that its 243 components complement the arcs of the curved walls and the Crystal Corridor that bisects the Glass Pavilion floorplan. B Gallery 5 Roman, Jar with Basket Handle, late 4th–5th century Glass The most elaborate jar of its type known from the late Eastern Roman world, this is one of thousands “As physical borders blur and of glass objects given by glass industrialist and TMA founder/benefactor Edward Drummond Libbey blend, so do notions such as Pavilion (1854–1925) of the Libbey Glass Company. He wanted the Museum to display a comprehensive program and context. This fits Since opening in August 2006, the history of glass art for the education and enjoyment the dynamic environment at the Toledo Museum of Art Glass Pavilion of the community. The Museum continues to build on has attracted a lot of attention from his vision today. Toledo Museum of Art, where around the world. This guide sheds a a wide range of collections little light on this architectural marvel are allowed to interact in new and the stellar collection it houses. C The Glass Study Gallery The Glass Study Gallery provides open storage of constellations, where workshop works not on display in the exhibition galleries. interacts with collection…and Divided into cases featuring ancient, European, American, and contemporary glass, the Study Gallery where the Museum campus allows visitors to compare many examples of similar objects, to contrast different techniques, and to enjoy interacts with neighborhood and the full range of the Museum’s varied collection. -
What Do You Do with 314 Pots? by Joan Lincoln
Teapot, 7 inches in height, slab-built Celadon-glazed teapot, 111/4 inches Glazed porcelain teapot, 9 inches porcelain with black terra sigillata, in height, wheel-thrown and carved in height, with handmade handle, purchased for $2600, by Edward Eberle. porcelain, $105, by Molly Cowgill. $50, by Ruth Scharf. What Do You Do with 314 Pots? by Joan Lincoln never intended to collect contempo opinions, current trends, inflated cost few people realized the potential value /, rary American ceramics. My first pur or overwhelming size. If a work cannot of a Toshiko Takaezu container; a chase, a small, red clay, matt-green- speak for itself in the rich company of shop/gallery/fair cannot afford to stay glazed bowl by Gertrud and Otto fine craft, no amount of pretentious in business on speculation. Friends Natzler, caught my eye at the New York jargon-hype will make it valid or hon also gave me ceramic objects, knowing City American Crafts Gallery. I could est. Obfuscation covers inadequacy. I had been mucking around in clay not leave without it. Now, my collec Rule three requires that the object forever (kindergarten through grad tion ranges from Laura Andreson to do well that which it was designed to school). Sometimes these gifts were Marguerite Wildenhain, from low-fire do. The mind likes a justification for quite remarkable (a 23-inch Rook- earthenware to high-fire porcelain, from the eye’s delight; e.g., my Molly Cowgill wood lamp base, probably by Shiraya- functional to purely decorative. I can celadon-glazed carved porcelain teapot madani). I also traded/bought from now read most pots easily for technique pours well, holds the heat and adds fellow M.F.A. -
The Magazine of the Museum of Texas Tech University in This Issue | Fall-Winter 2017
The Magazine of the Museum Mof Texas Tech University In This Issue | Fall-Winter 2017 Bringing the Abstract Heroes of the Postosuchus: Special Needs Art Meets Holocaust T. Rex of the Community to Atmospheric Triassic the Museum Science The Magazine of The Texas Tech University Museum M The Magazine of the Museum is for Museum of Texas Tech University M Fall/Winter 2017 2 Staff Publisher and Executive Editor M=eC Gary Morgan, Ph.D. Copy Editor Daniel Tyler Stakeholder engagement for a university Editorial Committee Sally Post, Jill Hoffman Ph.D. museum is a continuum between the university Design (Campus) and the Community. The Museum Armando Godinez Jr. must engage with the Campus; it must engage M is a biannual publication of the Museum of Texas Tech University. with the Community; and it must facilitate 3301 4th St, Lubbock, TX 79409 Phone: 806.742.2490 engagement between Campus and Community. www.museum.ttu.edu All rights reserved. Museum (M) equals engagement (e) ©Museum of Texas Tech University 2017 by Campus (C) and by Community (C). Cover Photo: Harvey Chick The Texas Liberator: Witness to the Holocaust 2 | FAll/Winter 2017 Museum at sunrise with desert agave casting shadows. Photo: Ashley Rodgers Fall/Winter 2017 | 3 M The Magazine of The Texas Tech University Museum 12 Lessons Large and Small By Deborah Bigness 16 Beauty Abounds By Marian Ann J. Montgomery 22 Inside M Bringing the Special Needs Community to the Museum M News . 7 By Bethany Chesire Light Up Lubbock. 9 Genetic Resources Collection . 11 25 Extending Creative Visions . -
Education Guide – Community
CRAFT INeducation AMERICA guide: community 1 contents introduction Craft in America Mission Statement 3 Craft in America, Inc. 3 Craft in America: The Series 3 Viewing the Series 3 Ordering the DVD and Companion Book 3 Audience 3 Craft in America Educator Guides 4 How to Use the Guides 4 Scope and Sequence 4 themes Show Me 5 Hand in Hand 12 Continuity and Change 19 Worksheets 26 Additional Web Resources 34 National Art Education Standards 35 Credits & Copyright 35 On the cover Amy Rueffurt, Log #4 (JFK), 2007, Sibila Savage Photography 2 educator guide information Craft in America, Inc. Craft In America Inc. is a non-profit organization dedicated to the exploration of craft in the United States and its impact on our nation’s cultural heritage. The centerpiece of the company’s efforts is the production of a nationally broadcast television documentary series celebrating American craft and the artists who bring it to life. The project currently includes a three-part television documentary series supported by CRAFT IN AMERICA: Expanding Traditions, a nationally touring exhibition of exceptional craft objects, as well as a companion book, and a comprehensive Web site. Carol Sauvion is the founder and director of Craft in America. Craft in America Mission Statement The mission of Craft in America is to document and advance original handcrafted work through programs in all media made accessible to all Americans. Craft in America: The Series Craft in America’s nationally broadcast PBS documentary series seeks to celebrate craft by honoring the artists who create it. In three episodes entitled Memory, Landscape and Community, Craft in America television viewers will travel throughout the United States visiting America’s premier craft artists in their studios to witness the creation of hand- made objects, and into the homes, businesses and public spaces where functional art is employed and celebrated. -
Peter Giopulos Files on Campus
Peter Giopulos Collection Artist Files Box A-B Folder # 1 – Art on Campus intro Folder # 2 – Art Walk Map Folder # 3 – Web Art Bill Stewart Folder # 4 – Art on Campus (A) Ansel Adams Samuel Marcus Adler George Gustave Adomeit Ahlgren, Roy B Charles Curtis Adams Frank Milton Armington Milton Clark Avery Folder # 5 – Josef Albers Folder # 6 – Mari Alexander Folder # 7 – Architecture on campus Folder # 8 – Harry Bertoia Folder # 9 – Art on campus (B) Otto Henry Bacher Federico Fiori Barocci Norman Arthur Bate Will Barnet Gustave Baumann Lester Beall Frank Weston Benson Thomas Hart Benton Alistair Bevington Sander Blondeel Milton Bond Walter H Cassebeer Borglum, Gutzon Philip Bornarth Charlotte Bowman Folder # 10 – Donald Bujnowski Doors Folder # 11 – Photo printed from collection Bujnowski 11 copies of 8x11 photographs of his work Box C-F Folder # 1 – Art on Campus C Robert Carter Walter H Cassebeer Wendell Castle John Channell Philip Cheney Ohi Chozaemon Carl Chiarenza John Scott Clubb Eugene C. Colby Robert Conge, Lila Copeland John Edwards Costigan James Crable Frank Craig Byron G Culver Folder # 2 – Augustus Wall Callcott Folder # 3 – Hans Christensen Folder # 4 – Art on campus [D-F] Henry Golden Dearth Henry De Maine Jose De Rivera David Dickinson Mitsui Eiichi Alejandro Fernandez Robert Fergerson Richard Aberle Florsheim Emil Fuchs Folder # 5 – Eisenhower dresses & Paintings in stage – Physical plant Folder # 6 – Harold (Hal) Foster Folder # 7 – Donald J Forsythe Box G-L Folder # 1 – Dan Kiley Folder # 2 – Art on Campus (G-H) Emil Ganso Moton Garchik Charles Dana Gibson Arthur Eric Rowton Gill Janet Goldner Nancy Gong Marion Greenwood Emile Albert Gruppe, Folder # 3 – Gordon Grant Folder # 4 – Gordon, Stanley Folder # 5 – Art on Campus (H) Silvanus G. -
Oral History Interview with Jere Osgood, 2001 September 19-October 8
Oral history interview with Jere Osgood, 2001 September 19-October 8 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. 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 Jere Osgood on September 19 and October 8, 2001. The interview took place in Wilton, New Hampshire, and was conducted by Donna Gold 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. Jere Osgood and Donna Gold have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a verbatim transcript of spoken, rather than written prose. Interview MS. DONNA GOLD: This is Donna Gold interviewing Jere Osgood at his home in Wilton, New Hampshire, on September 19, 2001, tape one, side one. So just tell me, you were born in Staten Island. MR. JERE OSGOOD: Staten Island, New York. MS. GOLD: And the date? MR. OSGOOD: February 7, 1936. MS. GOLD: And you were raised in Staten Island, right. MR. OSGOOD: Yeah. MS. GOLD: I was wondering whether you felt that you had the -- well, did you go into Manhattan frequently? MR. -
Don Reitz Resume Born
Don Reitz resume Born: 1929 Sunbury, Pennsylvania Education: 1962 MFA, New York State School of Ceramics, Alfred University, Alfred, New York 1957 BS, Art Education, Kutztown State College, Kutztown, Pennsylvania Teaching Appointments: 1962-88 University of Wisconsin, Madison Wisconsin 1962-62 Alfred University, Alfred, New York 1957-60 Dover Public Schools, Dover New Jersey Honors and Awards: Named Professor Emeritus, University of Wisconsin, Madison Named Fellow, Wisconsin Academy of Science, Arts, and Letters Honored in Ceramic Monthly Reader’s Roll as “One of twelve greatest living ceramic artists worldwide” 1988 and 2001 Cited by the Maori people of New Zealand and carved on their totem pole for “Distinguished leadership in the dispensing of knowledge to peoples” Honored as Trustee Emeritus of the American Craft Council Named Fellow of the World Craft Council Past President and named Fellow of the National Council on The Education of Ceramic Arts Recipient of the National Endowment of the Arts Grant Honorary Resident and given the key to the City of Henderson, Kentucky Recipient of the Governor’s Award in the Arts, State of Wisconsin and State of Pennsylvania Recipient of the Governor’s Award , Himeji City, Japan Recipient of the first Ceramic Art Award by The American Ceramic Society Honored Guest of the Vice President of The United States in Washington, D.C. Recipient of the Aileen Osborn Webb Gold Medal, American Crafts Council’s Highest Award Recipient of the James Renwick Alliance Distinguished Educator Award Recipient of the -
Vol. 24, No. 3 March 2020 You Can’T Buy It
ABSOLUTELY FREE Vol. 24, No. 3 March 2020 You Can’t Buy It The NC Museum of Art in Raleigh, NC, will present Front Burner: Highlights in Contemporary North Carolina Painting, curated by Ashlynn Browning, on view in the Museum’s East Building, Level B, Joyce W. Pope Gallery, from March 7 through July 26, 2020. Work shown by Lien Truong © 2017 is I, “Buffalo”, and is acrylic, silk, fabric paint, antique gold-leaf obi thread, black salt and smoke on linen, 96 x 72 inches. I “Buffalo” was purchased by the North Carolina Museum of Art with funds from the William R. Roberson Jr. and Frances M. Roberson Endowed Fund for North Carolina Art. Photography is by Peter Paul Geoffrion. See article on Page 34. ARTICLE INDEX Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. DONALD Weber Page 1 - Cover - NC Museum of Art - Lien Truong Page 3 - Ella Walton Richardson Fine Art Page 2 - Article Index, Advertising Directory, Contact Info, Links to blogs, and Carolina Arts site Page 4 - Linda Fantuzzo / City Gallery at Waterfront Park Page 4 - Editorial Commentary & Charleston Artist Guild Page 5 - Wells Gallery & Halsey McCallum Studio Page 5 - Ella Walton Richardson Fine Art & Robert Lange Studios “Italian Sojourn” Page 6 - Kathryn Whitaker Page 6 - Meyer Vogl Gallery & City of North Charleston Page 7 - Emerge SC, Helena Fox Fine Art, Corrigan Gallery, Halsey-McCallum Studio, Page 8 - Art League of Hilton Head Reception March 6th 5-8 pm | Painting Demonstration March 7th 2-5 pm Rhett Thurman, Anglin Smith Fine Art, Halsey Institute of Contemporary Art, Page 10 - Coastal Discovery Museum, Society of Bluffton Artists & Clemson University / Sikes Hall The Wells Gallery at the Sanctuary & Saul Alexander Foundation Gallery Exhibition through April 1st, 2020 Page 12 - Clemson University / Sikes Hall cont.