Mary Lee Hu Uses Her Hands Rather Than a Loom

Total Page：16

File Type：pdf, Size：1020Kb

Weaving gold into regal jewels, master goldsmith Mary Lee Hu uses her hands rather than a loom. Hu twines still high carat gold wires into necklaces, brooches, earrings and rings, giving them the illusion of fluidity and softness as only she can. “After I had been weaving for a while, I was examining a Northwest Coast cedar bark basket with a surface texture I liked and found that it used two wefts in each row that were twisting around each other as they went over and under the warps — one went over and the other went under each warp, then they passed each other as they went up and down so as to become twisted. This is called twining and it is used extensively in basketry and also to make loom-woven rugs. I fell in love with it. When twisting two elements, the tighter the twist, and the wider the flat elements are compared to their height, the more of a diagonal one will see in the twist. This diagonal is what attracted me to the way the surface of twining appeared. I wanted to replicate it, so I used two round wires running next to each other to make a wider weft element, and kept my warps closely spaced to give a tighter twist. Using double weft elements has been referred to by others as double twining and I have used it almost exclusively since 1976.” – Mary Lee Hu, Knitted, Knotted, Twisted & Twined: The Jewelry of Mary Lee Hu Selected Collections ● Art Institute of Chicago, Chicago, IL ● Museum of Arts and Design, New York, NY ● Museum of Fine Arts, Boston, MA ● National Ornamental Metals Museum, Memphis, TN ● Renwick Gallery, National Museum of American Art, Washington DC ● Victoria and Albert Museum, London, United Kingdom ● Numerous private collections throughout the United States and internationally.

Copy Link

Recommended publications

Weaverswaver00stocrich.Pdf
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.
[Show full text]
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.
[Show full text]
Symposium ‘06 Makers : : Careers : : Concepts
Northwest Jewelry and Metals Symposium ‘06 Makers : : Careers : : Concepts NEWSLETTER :: September/October, 2006 Makers : : Careers : : Concepts On behalf of the Seattle Metals Guild we look forward to seeing you at our event this year entitled Makers :: Careers :: Concepts. The Symposium committee has sought diverse presentations about these three categories hoping to appeal to widely different tastes. Yet perhaps each one of us is a maker and also a conceptualist AND a career minded person, merging many tastes. Might not a collector of art jewelry, who happens to be a business executive, be engaged with our three categories just like a beginning metals student? Of course they are, for we are all brought together by that great cultural bonding agent, art and its creative process. Let us share our different tastes and celebrate our common passions as we gather for a day all about art! We are excited to be part of this grand adventure and pleased to have attracted not only our esteemed speakers but the following organizations, among others, who are contributing toward our programs: The Bellevue Arts Museum The Allied Arts Foundation The Pratt Fine Arts Center Northwest Designer Craftsmen Artist Trust The Northwest Bead Society Facere Jewelry Art Gallery Jewelry Resource and Supply Allcraft Denise Wallace (Chugach Aleut) and Samuel Wallace: Female Mask with Goggles pin/pendant. 1996 Newsletter cover image: Sterling silver and turquoise Belt buckle by Lee Yazzie, Navajo. 2004 2 www.seattlemetalsguild.org The Eleventh Annual Northwest Jewelry and Metals Symposium 2006 Makers : : Careers : : Concepts Mark your calendars for Saturday October 21, 2006, from 8:30am to 6:00pm, and join us at the Seattle Asian Art Museum in lovely Volunteer Park.
[Show full text]
CHARON KRANSEN ARTS 817 WEST END AVENUE NEW YORK NY 10025 USA PHONE: 212 627 5073 FAX: 212 663 9026 EMAIL: [email protected]
CHARON KRANSEN ARTS 817 WEST END AVENUE NEW YORK NY 10025 USA PHONE: 212 627 5073 FAX: 212 663 9026 EMAIL: [email protected] www.charonkransenarts.com AUGUST. 2020 A JEWELER’S GUIDE TO APPRENTICESHIPS: HOW TO CREATE EFFECTIVE PROGRAMS suitable for shop owners, students as well as instructors, the 208 page volume provides detailed, proven approaches for finding , training and retaining valuable employees. it features insights into all aspects of setting up an apprenticeship program, from preparing a shop and choosing the best candidates to training the apprentice in a variety of common shop procedures. an mjsa publication. $ 29.50 ABSOLUTE BEAUTY – 2007catalog of the silver competition in legnica poland, with international participants. the gallery has specialized for 30 years in promoting contemporary jewelry. 118 pages. full color. in english. $ 30.00 ADDENDA 2 1999- catalog of the international art symposium in norway in 1999 in which invited international jewelers worked with jewelry as an art object related to the body. in english. 58 pages. full color. $ 20.00 ADORN – NEW JEWELLERY - this showcase of new jewelry offers a global view of exciting work from nearly 200 cutting-edge jewelry designers. it highlights the diverse forms that contemporary jewelry takes, from simple rings to elaborate body jewelry that blurs the boundaries between art and adornment. 460 color illustrations. 272 pages. in english. $ 35.00 ADORNED – TRADITIONAL JEWELRY AND BODY DECORATION FROM AUSTRALIA AND THE PACIFIC adorned draws on the internationally recognised ethnographic collection of the macleay museum at the university of sidney and the collections of individual members of the oceanic art society of australia.
[Show full text]
Mu Useum M Ove Erview W
1701 Pacific Avenue Tacoma Washington 98402 T.253.272.4258 F.253.627.1898 www.TacomaArtMuseum.org Museum Overview Curriculum Guide MUSEUM OVERVIEW Join a museum educator for an introduction to the museum and a brief overview of each current exhibition (approximately an hour in length), followed by self-guided time in areas of interest. SCHOOL TOUR INTRODUCTION Each tour is led by knowledgeable museum volunteer educators who engage students in a conversation-based gallery visit utilizing Visual Thinking Strategies. HOW TO USE THIS CURRICULUM The curriculum guide includes sample images, pre- and post-visit lessons plans, background information, lesson plans, extension activities, and other resources to help you integrate the museum experience into your classroom curriculum – lessons may also be modified to be used independently of a museum visit. Grade levels are suggested for each lesson; however, teachers may adapt the lessons to other grade levels as appropriate. PRE- AND POST-VISIT LESSONS To ensure a successful and informative museum visit, pre-visit lessons are created to prepare your students for their museum visit. After your museum visit, use the post-visit exercises to help reinforce your students’ museum experience and the concepts and information addressed during the tour and art activity. Each lesson is designed to correspond to Essential Academic Learning Requirements (EALRs) and Common Core State Standards (CCSS). CONFIRMATION PACKET Please be sure to review the confirmation letter you received when you booked your school tour. The confirmation packet includes directions and parking instructions, and information about obtaining a free museum pass so that you may familiarize yourself with the exhibition content and the layout of the museum prior to your school tour.
[Show full text]
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.
[Show full text]
Jeannine Falino's CV
JEANNINE FALINO Curator, writer, and lecturer examining the intersection of design, craft and society CURATORIAL PROJECTS Exhibition Curator Curator, Betty Cooke: The Circle and The Line, Walters Art Museum. Exhibition forthcoming fall 2021; catalogue forthcoming September 2020. Curator, Gilded Chicago: Portraits of an Era, The Richard H. Driehaus Museum. A companion exhibition to Beauty’s Legacy, Gilded Age Portraiture in America, focusing on prominent Chicago citizens and the portraits they commissioned to advance their social standing and proclaim their affluence. September 2018 to January 2019 Curator, New York Silver, Then and Now, Museum of the City of New York. Twenty-four metalsmiths, artists, and designers create new works inspired by the Museum’s renowned collection of New York silver. June 2017 to May 2018 Curator, L’Affichomania: The Passion for French Posters, The Richard H. Driehaus Museum, Chicago, Illinois. Five grand masters of the medium (Jules Chéret, Eugène Grasset, Théophile- Alexandre Steinlen, Alphonse Mucha, Henri de Toulouse Lautrec) are featured, with one gallery devoted to performances advertised in this new art form, and accompanied by Acoustiguide script. For catalogue, see publications. February 2017 to January 2018 Curator, What Would Mrs. Webb Do? A Founder’s Vision, Museum of Arts and Design, New York. Focus on Aileen Osborn Webb as an advocate and philanthropist in American craft. September 2014 to February 2015 Co-curator, Gilded New York, Design, Fashion & Society, Museum of the City of New York. Exhibition devoted to luxury goods and paintings in New York’s gilded age. For catalogue, see publications. March 2012 to May 2017 Co-curator, Crafting Modernism: Midcentury American Art and Design, Museum of Arts and Design, New York.
[Show full text]
Seven Contemporary American Metalsmiths
Seven Contemporary American Metalsmiths April 12 - May 22, 1992 Johnson County Community College • Gallery of Art ChunghiChoo ''I believe that the sweeping movements Professional Experience: A.ttist-in Iowa City, Iowa of the bntsh in calligraphy have influ residence, head of metalsmithing, enced my work and give it a fl owing line Cranbrook Academy of Att, Bloomfield Born: Inchon, Korea, 1938 of energy. I like to see qualities of simplicity Hills, Mich., 1984-present Education : Bachelor of Fine Alts degree, and grace in my holloware. I like for each "Tbefield of meta/smithing is currently Ewha Women 's University, Seoul, Korea, piece to be used and thus to add pleasure extreme ly diverse. It encompasses people 1961; Master of Fine Alts degree, to daily life through heightened sensuous who are working f rom the holloware tra Cranbrook Academy of Art, Bloomfield ness and a feeling of celebration . " dition that deals with the vessel or an ori Hills, Mich., 1965 -Chunghi Choo entation toward volum e, to those who are Award/ Honor: National Endowment for dealing with architectural or environmen the Alts Fellowship , 1981 tal situati ons. I include myself in the latter Exhibitions: Tbe Mettle of Metal.-An group. Overview of Contemporary American "Tbe qualities in my work that I view as Meta/smithing , The Society of Arts and uniquely American are extremely impor Crafts, Boston , 1990; Craft Today USA, tant to me . Not only do I include the Europea n traveling exh ibition, organized American landscap e as subject matter, but by the A.tnerican Craft Museum, New York the work embraces the notion of fantasy , City, 1989-1992; Craft Today: Poetry of the of the tall tale, of playfulness.
[Show full text]
The Juliette K
The Juliette K. and Leonard S. Rakow Research Library The Corning Museum of Glass Finding Aid for the ARTIST FILES, ARTIST INTERVIEWS & ADDITIONAL INFORMATION COMPILED BY KAREN CHAMBERS (bulk 1975–2000) ACCESS: Open for research BIBLIOGRAPHIC #: 59848 COPYRIGHT: Requests for permission to publish material from this collection should be discussed with one of the following: the Archivist, Librarian, or the Rights & Reproductions Manager. PROCESSED BY: Nive Chatterjee, May 2007 PROVENANCE: Karen Chambers donated this archive in 1999 SIZE: 14 linear feet (15 boxes) The Juliette K. and Leonard S. Rakow Research Library The Corning Museum of Glass 5 Museum Way Corning, New York 14830 Tel: (607) 974-8649 TABLE OF CONTENTS Karen Chambers 3 Scope and Content Note 4 Series Descriptions 5-6 Box and Folder List 7-24 Series I: Artist Files 7-18 Sub-Series A: Artist Files (slides) Sub-Series B: Artist Files (non-slides) Sub-Series C: Artist Interviews Series II: Articles, Notes, Report & Slides 18-21 Sub-Series A: Slides Sub-Series B: Glass in Different Countries Sub-Series C: Articles, Notes & Report Sub-Series D: Miscellaneous Series III: Audio Cassettes 21-24 Sub-Series A: Audio Cassettes Sub-Series B: Audio Microcassettes 2 KAREN CHAMBERS Karen Chambers received her B.F.A. from Wittenberg University, Springfield, OH, and her M.A. in art history from the University of Cincinnati. From 1983 to 1986, Karen Chambers was editor of New Work, now Glass: The UrbanGlass Quarterly, published by UrbanGlass. She has written over a hundred articles on glass for magazines including: Neues Glas, Art & Antiques, The World & I, and American Craft.
[Show full text]
Oral History Interview with Mary Giles, 2006 July 18
Oral history interview with Mary Giles, 2006 July 18 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 recorded interview with Mary Giles on July 18, 2006. The interview took place in Santa Fe, New Mexico, and was conducted by Jane Sauer 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. Mary Giles has reviewed the transcript and has made corrections and emendations. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JANE SAUER: This is Jane Sauer interviewing Mary Giles at my home in Santa Fe, New Mexico, on July 18, 2006, for the Archives of American Art, Smithsonian Institution, disc number one. When and where were you born? MARY GILES: I was born in St. Paul, Minnesota, in 1944. MS. SAUER: Would you describe your childhood and family background? MS. GILES: Oh, boy. I was one of three children. I have an older brother, who is 15 months older, and a sister, three and half years younger. We were born and raised in a nice little community called Falcon Heights, with a local school and a local church.
[Show full text]
Oral History Interview with Mary Lee Hu
Oral history interview with Mary Lee Hu 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 Mary Lee Hu AAA.hu09 Collection
[Show full text]
Untitled Urn
YOUNG AMERICANS 1988 A national competition organized by the American Craft Museum of the American Craft Council Support for "Young Americans 1988" has been provided by the Collectors Circle of the American Craft Council from their America Series Endowment Fund. Funding for the competition and awards was provided by a grant from the Jerome Foundation. 1 JURORS STATEMENT We were invited to jury the "Young Americans The "Young Americans 1988" exhibition took 1988" competition as artists with different speciali shape through a distillation process: after reviewing zations, but we found that the selection process lent slides and studying the objects, we selected work itself to a unified and harmonious group effort. All that had a strong physical presence and clear aes the entries were examined and assessed as a team; thetic intention. Ostensibly, the artists' focus ranged we began with an intuitive decision-making process from specific attention to basic formal issues to an and moved to an open, lively and critical discus interest in creating highly personal statements that sion. were often fused with historical references. In cer The selection for the "Young Americans 1988" tain cases we found that the actual materials and competition was divided into two phases: in an techniques in question served a dual role as both initial slide jurying we reviewed 817 submissions subject and process. We discovered that the artists' including 261 works in clay, 94 in fiber, 68 in glass, manipulation of materials-free from historical con 201 in metal, 104 in mixed media and 89 in wood. straints-has matured to such a degree that young Using a system perfected by American Craft Enter Americans now turn adeptly to craft materials as a prises Inc., we were able to view all the slides means of creating challenging visual statements.
[Show full text]