DOCSLIB.ORG

CLAYWORKS: 20 AMERICANS Museum of Contemporary Crafts of the American Crafts Council June 18-September 12, 1971

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CLAYWORKS: 20 AMERICANS Museum of Contemporary Crafts of the American Crafts Council June 18-September 12, 1971 CLAYWORKS: 20AMERICANS CLAYWORKS: 20 AMERICANS Museum of Contemporary Crafts of The American Crafts Council June 18-September 12, 1971 Raymond Allen Maps Robert Arneson The Cook Clayton Bailey Creatures Patti Warashina Bauer layered Drea ms Jack Earl Penguins Kurt Fishback Houses Verne Funk Mouth Pots David Gilhooly Animals Dick Hay Traps Rodger Lang Pies Marilyn Levine Garments William Lombardo Washington Cows James Melchert A's Richard Shaw Sinking Ships Victor Spinski Machines Bill Stewart Duck Houses & Snak~s Chris Unterseher Bookends Peter VandenBerge Vegetables Ken neth Vavrek Bullets William Warehall Cakes ) 20 Americans (from left 10 righI, lop 10 bottom) Rodger Lang David Gilhooly Clayton Bailey Robert Arneson Verne Funk Victor Spinski Dick Hay Raymond Allen William Warehall Jack Earl Richard Shaw Bill Stewart Chris Unterseher Peter Vanden Berge James Melchert Patti Warashina Bauer William Lombardo Kurt E. Fishback Kenneth Vavrek Marilyn Levine Acknowledgements We wish to express our appreciation to the artists for making their work avail­ able and to the galleries and collectors who loaned pieces for the exhibition: Mr. and Mrs. Wayne Andersen; Mr. and Mrs. Leonard Nones; Obelisk Gallery, Inc.; State University College, Potsdam, New York; Mr. and Mrs. Robert E. Stevenson; Ann Stockton and Peter Voulkos; and Allan Stone. Introduction Clayworks: 20 Americans represents Arneson and James Melchert must a group of ceramic artists with a certainly be mentioned among the very sensitive view of the world, artists who were instrumental who are engaged in making objects, in defining the object-oriented usually in a series, to develop a ceramic movement in the early particular theme with social, sixties. While all of the artists in the political, and sexual implications. exhibition are vitally concerned with Through their work, these ceramists their own aesthetic statements, they create a powerful commentary on are also involved with teaching. present day society-its preoccupa­ Each is associated with a university tions and concerns, its faults and art program where his influence is merits. Traditional concepts of "good felt by many student artists. taste" are forfeited to emphasize the grotesque and the humorous. Clayworks: 20 Americans cannot be Elaborate titles are used to enrich construed as a survey of the ceramic and expand the scope of the artist's medium today; there are many other statement. directions being taken simultane­ ously. The kind of work shown in Technically, this movement, in this exhibition is only possible and contrast to the free use of clay of the meaningful in the context of our abstract expressionist school, returns affluent, "free-form" American to a more disciplined handling of the society. To intellectualize further by ceramists' materials using a vast attempting to state what all this array of decorative techniques­ means would be presumptuous on china paints, lustres, underglazes, our part. The main issue is that these decals, acrylic paints-and a wide creations have a strong presence­ range of clay bodies. that is the real and valid statement. Each artist has evolved his personal direction from many different Paul J. Smith influences. However, Robert Director My recent ART WORKS in porcelain, glazed all in the coolness of celadon, are like a 9th century southern Chinese UNIVERSITY OF CALIFORNIA, DAVIS Sung Dynasty potter explaining the TRUTH of art, non-art, nut-art and their IJEH"ELE,· • OA\'IS • III\'ISE • LOS "I'\(;ELES • RIVERSIDE' SAN on:co • SAN FRANCISCO SANTA BARBARA ' SASTA CRUZ significance in a precious and free sense way with added footnotes and trivia culled from folks like Steve Kaltenfront, DEPAl\TMEST OF ART DA\'IS, CAL1FORNIA 9,616 the Duncan Mold Company, and my Own April 27, 1971 astrological signs for a Virgo artist who thought his Scorpio was rising until his astro flashed the truth from the Mr. paul Smith depths of the station. Director But that was long after the fires went out Museum at Contemporary Crafts 29 West 53rd Street and the kilns had cooled so I figured, New York. I New York 100 19 in light of the evidence presented, and depending on where you stood, that it all Dear paul: didn't seem to make too much I got interested in ceramics about 1955 while teaching high school kids difference anyway- just a lot of work how to throw. Actually I wasn 't much better than they were but I got in white mud calling itself art. turned on anyway. Sure I had taken a course in ceramics while attending the California College of Arts and crafts in oakland, (training to become Robert Arneson an art "teacher") but I spent most of my studio time stealing other students crummy green ware pots , having convinced myself that I was never going to master that god-dam wheel. I ' d sandpaper their names off the bottom and "The Cook, A Self-Portrait" carefully inscribe mine, and with the aid of some handsome class glazes by Robert Arneson. I was able to present this achievement for credits. Earthenware; glaze. 6' x 5' x 5'. So, while 11m teaching high school and showing the kids "how", I diligently practiced the "how-to-do" lessons of Tom Sellers and carlton Ball, which were appearing in Ceramics Monthly Magazine then. Sort of a self inflicted over-training compensation. I got pretty skillful after two years of this sort of thing so I liberated myself from the secondary tea~ing and convinced Tony Prieto at Mills College that I wanted to be a ceramists artist-potter, craftsmen. I made slick bottles in the Mills tradition as a graduate student and picked off a 2nd prize in the 1958 Wichita ceramic National Exhibition but I soon got pretty bored with that stuff and seeing voulko's things in shows and Craft Horizons about this time, turned my head around to clay as a "real-thing" so I got into the "push-and-pullil of it. Elena Netherby called these abstract expressionistic ceramic efforts of mine "Mastodon droppingll but they actually were rather weak and contrived. One afternoon in early September of 1961 while demonstrating pottery techniques at the California State Fair along with Tony Prieto and Wayne Taylor. I threw a handsome, sturdy bottle about quart size and then carefully sealed it with a clay bottle cap and then stamped it NO RETURN. That's what it's really all about, isn't it! Yours ~~ Robert Arneson Rl\ :mld I started the II a Series" the summer of '69, strictly for my own amusement. I had just finished reading an English translation of Exercises in Style by Raymond Queneau and couldn't imagine anything more fun than a parallel in sculpture. I like words very much and the lower case a, in type not script, is probably my favorite letter. Also, in the Bay Area, we've done a number of group shows where we decided on a theme and went home and made pieces for the show. The a show was like a group theme show that I did by myself. James Melchert "Surreal a" by James Melchert. Earthenware; glaze, china paint. 6" h. Collection: Mr. and Mrs. Wayne Andersen, Boston, Massachusetts. "a Made 4 Ibs. lighter" by James Melchert. Earthenware; urethane. 21". Courtesy: Obelisk Gallery, Inc., Boston, Massachusetts. I have been dealing with a common, everyday object for sometime. And I must agree with the statement that "ceramics is the world's most fascinating hobby". This cake series has brought "A BitOf You" me considerable insight into my by William Warehall. development as a clay person. Porcelain; flocking, lustres, William Warehall decals. 11" x 1A " dia. Try the sample which we are sending you. Test it in anyway you wish. Put it to the severest trial it could possibly be expected to go through in actual use. Let us know the results if they are in the least unsatisfactory to you. The finished article which you buy is the same as the sample. Both will stand up under the hardest tests you wish to devise. We know, because we have put this product to the trial. If we had not, we should not dare ask you to. Patti Warashina Bauer "Moon Dog Dream" by Patti Warashina Bauer. Low fire claYi glazes, lustre. 2'5" x 2'. There are so many things that our society places in such high esteem, almost in a religious or holy context, that maybe should not be treated as such. The traps are just feelings about these things- capturing, destroying, making "Form Over Fun ction" aware. Thus, one part of the series- by Dick Hay. form over function. Stoneware; high fire glazes, lustre. Dick Hay 7/1 X 11/1 x 16 1/2/1 . Men are awed by the contraptions they build: channeled natural phenomenon. Yet through some warped, primitive instinct for survival, he has begun to take on the characteristics of the mechanical creatures in his environment, camouflaging himself, fearful of detection by this mysterious predator. The prey is the predator. Victor Spinski "Machine II I" by Victor Spinski. Stoneware; lustres, decals. 60" x 40". When was the last time you saw an American eagle? Man has taken care of that symbol for us. My work deals with an animal that exists in larger numbers, is more prevalent, and tastes better than an American eagle. It soon should be No.1 American symbology. William Lombardo "D.C. Lunch Break" by William Lombardo. Stoneware; low fire glaze, lustre. china paint. 20" x 20" x 10". All this stuff involves the ocean and ships because I've always lived by the sea. Richard Shaw "Sea Gull Jar With Hand" by Richard Shaw. Low fire clay; underglazes, china paint, low fire glazes.
Load more

Recommended publications
  • Download Press Release [PDF]
    NICELLE BEAUCHENE GALLERY Maija Peeples-Bright SEALabrate with Maija! May 31-June 30, 2019 Opening Reception: Friday, May 31, 6-8 pm Nicelle Beauchene is pleased to present a solo exhibition of paintings by Maija Peeples-Bright, spanning three decades of her career from 1971-1996. Titled SEALabrate with Maija!, this exhibition is the artist’s first in New York. For nearly thirty years, Peeples-Bright exhibited at Adeliza McHugh’s Candy Store Gallery in Folsom, California. McHugh was in her fifties and had no formal experience in the art world when she decided to open an art gallery after the local health department shut down her almond nougat business. The Candy Store Gallery became synonymous with the Funk Art movement and Peeples-Bright showed there along side Robert Arneson, Clayton Bailey, Roy De Forest, David Gilhooly, Irv Marcus, and William T. Wiley. Peeples-Bright was introduced to McHugh through her teacher at UC Davis Robert Arneson and had her first exhibition there in 1965. In the late 1960’s, frustrated with the limitations of Funk, Peeples-Bright was a founding member of the Northern Californian movement dubbed Nut Art. Along with Clayton Bailey, Roy De Forest, David Gilhooly, and David Zack, Nut artists sought to create fantasy worlds that were reflective of each artist’s idiosyncrasies and self-created mythologies. Peeples-Bright and others adopted alter egos for this purpose, she was known as “Maija Woof.” In 1972 at California State University Hayward, Clayton Bailey organized the first Nut Art exhibition. A manifesto written for the occasion by Roy De Forest declared: “THE WORK OF A PECULIAR AND ECCENTRIC NUT CAN TRULY BE CALLED ‘NUT ART’… THE NUT ARTIFICER TRAVELS IN A PHANTASMAGORIC MICRO-WORLD, SMALL AND EXTREMELY COMPACT, AS IS THE LIGHT OF A DWARF STAR IMPLODING INWARD.” SEALabrate with Maija! is a glimpse into the colorful world of the artist’s creation.
    [Show full text]
  • 2020 Impact Report
    20 20 IMPACT REPORT Demond Melancon, Big Chief of the Young Seminole Hunters – 2020 COVID-19 Relief Grant Recipient, New Orleans, Louisiana, Photo courtesy of Christopher Porché West OUR MISSION A Letter from CERF+ Plan + Pivot + Partner CERF+’s mission is to serve artists who work in craft disciplines by providing a safety In the first two decades of the 21st century,CERF+ ’s safety net of services gradually net to support strong and sustainable careers. CERF+’s core services are education expanded to better meet artists’ needs in response to a series of unprecedented natural programs, resources on readiness, response and recovery, advocacy, network building, disasters. The tragic events of this past year — the pandemic, another spate of catastrophic and emergency relief assistance. natural disasters, as well as the societal emergency of racial injustice — have thrust us into a new era in which we have had to rethink our work. Paramount in this moment has been BOARD OF DIRECTORS expanding our definition of “emergency” and how we respond to artists in crises. Tanya Aguiñiga Don Friedlich Reed McMillan, Past Chair While we were able to sustain our longstanding relief services, we also faced new realities, which required different actions. Drawing from the lessons we learned from administering Jono Anzalone, Vice Chair John Haworth* Perry Price, Treasurer aid programs during and after major emergencies in the previous two decades, we knew Malene Barnett Cinda Holt, Chair Paul Sacaridiz that our efforts would entail both a sprint and a marathon, requiring us to plan, pivot, Barry Bergey Ande Maricich* Jaime Suárez and partner.
    [Show full text]
  • Clayton Bailey (1939 - )
    CLAYTON BAILEY (1939 - ) Clayton Bailey‟s incredible universe defies description. One of the University of California-Davis Funk artists, Bailey uses ceramics, metals, and mixed media to create sculptures that give life to the fantasies going on in his head. His amazingly crafted pieces have been described by others, and indeed by himself, as “Nut Art” or “Crock Art” - they move, they make noises, and above all they refuse to take themselves or the world seriously. ARTIST’S STATEMENT – CLAYTON BAILEY “I like the „magic‟ of converting mud into stone.”1 1. Quoted in: Susan Peterson. The Craft and Art of Clay. Englewood Cliffs, N. J.: Prentice Hall, 1992. RESUME – CLAYTON BAILEY 1939 Born, Antigo, WI 1957-1961 University of Wisconsin, Madison, WI, B.S. Art Education 1958 Married Betty 1961-1962 University of Wisconsin, Madison, WI, M.S., Art and Art Education 1962 Toledo Museum of Art glassblowing seminars Paoli Clay Company Instructor, People‟s Art Center, St. Louis, MO Instructor, Ceramic Sculpture, School of Architecture, Washington University, St. Louis, MO 1963 Instructor, University of Iowa, summer session Louis Comfort Tiffany Grant American Crafts Council Research Grant 1963-1967 Professor of Art, Wisconsin State University, Whitewater, WI 1967 Professor of Art, University of South Dakota Interim Professor, University of California-Davis, Davis, CA 1968-1996 Professor of Art, California State University, Hayward, CA (Chairman of the Art Department 1984-1987) 1979 National Endowment for the Arts Craftsmen‟s Fellowship 1982 Honorary Fellowship Award for Contributions to Education in the Ceramic Arts, NCECA 1990 National Endowment for the Arts Grant 1996-Present Professor Emeritus of Ceramics, California State University, Hayward, CA Studio Artist, Port Costa, CA BIOGRAPHY – CLAYTON BAILEY Although primarily identified with the Bay Area, Clayton Bailey was born in Antigo, WI, and grew up in the Midwest.
    [Show full text]
  • On the Edge Nceca Seattle 2012 Exhibition Guide
    ON THE EDGE NCECA SEATTLE 2012 EXHIBITION GUIDE There are over 190 exhibitions in the region mounted to coincide with the NCECA conference. We offer excursions, shuttles, and coordinated openings by neighborhood, where possible. Read this document on line or print it out. It is dense with information and we hope it will make your experience in Seattle fulfilling. Questions: [email protected] NCECA Shuttles and Excursions Consider booking excursions or shuttles to explore 2012 NCECA Exhibitions throughout the Seattle region. Excursions are guided and participants ride one bus with a group and leader and make many short stops. Day Dep. Ret. Time Destination/ Route Departure Point Price Time Tue, Mar 27 8:30 am 5:30 pm Tacoma Sheraton Seattle (Union Street side) $99 Tue, Mar 27 8:30 am 5:30 pm Bellingham Sheraton Seattle (Union Street side) $99 Tue, Mar 27 2:00 pm 7:00 pm Bellevue & Kirkland Convention Center $59 Wed, Mar 28 9:00 am 12:45 pm Northwest Seattle Convention Center $39 Wed, Mar 28 1:30 pm 6:15 pm Northeast Seattle Convention Center $39 Wed, Mar 28 9:00 am 6:15 pm Northwest/Northeast Seattle Convention Center $69 combo ticket *All* excursion tickets must be purchased in advance by Tuesday, March 13. Excursions with fewer than 15 riders booked may be cancelled. If cancelled, those holding reservations will be offered their choice of a refund or transfer to another excursion. Overview of shuttles to NCECA exhibitions and CIE openings Shuttles drive planned routes stopping at individual venues or central points in gallery dense areas.
    [Show full text]
  • Earthenware Clays
    Arbuckle Earthenware Earthenware Clays Earthenware usually means a porous clay body maturing between cone 06 – cone 01 (1873°F ‐ 2152°F). Absorption varies generally between 5% ‐20%. Earthenware clay is usually not fired to vitrification (a hard, dense, glassy, non‐absorbent state ‐ cf. porcelain). This means pieces with crazed glaze may seep liquids. Terra sigillata applied to the foot helps decrease absorption and reduce delayed crazing. Low fire fluxes melt over a shorter range than high fire materials, and firing an earthenware body to near vitrification usually results in a dense, brittle body with poor thermal shock resistance and increased warping and dunting potential. Although it is possible to fire terra cotta in a gas kiln in oxidation, this is often difficult to control. Reduced areas may be less absorbent than the rest of the body and cause problems in glazing. Most lowfire ware is fired in electric kilns. Gail Kendall, Tureen, handbuilt Raku firing and bodies are special cases. A less dense body has better thermal shock resistance and will insulate better. Earthenware generally shrinks less than stoneware and porcelain, and as a result is often used for sculpture. See Etruscan full‐size figure sculpture and sarcophagi in terra cotta. At low temperatures, glaze may look superficial & generally lacks the depth and richness of high fire glazes. The trade‐offs are: • a brighter palette and an extended range of color. Many commercial stains burn out before cone 10 or are fugitive in reduction. • accessible technology. Small electric test kilns may be able to plug into ordinary 115 volt outlets, bigger kilns usually require 208 or 220 volt service (the type required by many air conditioners and electric dryers).
    [Show full text]
  • Craft Alliance Center for Art and Design Records (S0439)
    PRELIMINARY INVENTORY S0439 (SA0010, SA2390, SA2492, SA2714, SA3035, SA3068, SA3103, SA3633, SA3958) CRAFT ALLIANCE CENTER FOR ART AND DESIGN RECORDS This collection is available at The State Historical Society of Missouri Research Center- St. Louis. If you would like more information, please contact us at [email protected]. Introduction Approximately 58 cubic feet The Craft Alliance is a non-profit, cultural and educational organization which promotes the production, enjoyment, and understanding of the crafts. The records include budgets, bylaws, correspondence, exhibition schedules, Education Center program schedules, newsletters, scrapbooks, and photographs. Donor Information The records were donated to the University of Missouri by Mrs. Norman Morse on January 29, 1971 (Accession No. SA0010). Additions were made on April 7, 1981 by a representative of the Craft Alliance (Accession No. SA2930); November 2, 1982 by Mary Colton (Accession No. SA2492); September 11, 1985 by Wilda Swift (Accession No. SA2714); December 1, 1991 by Barbara Jedda (Accession No. SA3035); June 24, 1992 by Barbara Jedda (Accession No. SA3068); December 28, 1992 by Barbara Jedda (Accession No. SA3103); September 7, 2005 by Alexi Glynias (Accession No. SA3633); July 12, 2011 by Barbara Jedda (Accession No. SA3958); August 14, 2020 by Mark Witzling (Accession No. SA4474); August 26, 2020 by Mark Witzling (Accession No. SA4479). Copyright and Restrictions The Donor has given and assigned to the State Historical Society of Missouri all rights of copyright which the Donor has in the Materials and in such of the Donor’s works as may be found among any collections of Materials received by the Society from others.
    [Show full text]
  • A Look at Upcoming Exhibits and Performances Page 34
    Vol. XXXIV, Number 50 N September 13, 2013 Moonlight Run & Walk SPECIAL SECTION page 20 www.PaloAltoOnline.com A look at upcoming exhibits and performances page 34 Transitions 17 Spectrum 18 Eating 29 Shop Talk 30 Movies 31 Puzzles 74 NNews Council takes aim at solo drivers Page 3 NHome Perfectly passionate for pickling Page 40 NSports Stanford receiving corps is in good hands Page 78 2.5% Broker Fee on Duet Homes!* Live DREAM BIG! Big Home. Big Lifestyle. Big Value. Monroe Place offers Stunning New Homes in an established Palo Alto Neighborhood. 4 Bedroom Duet & Single Family Homes in Palo Alto Starting at $1,538,888 410 Cole Court <eZllb\lFhgkh^IeZ\^'\hf (at El Camino Real & Monroe Drive) Palo Alto, CA 94306 100&,,+&)01, Copyright ©2013 Classic Communities. In an effort to constantly improve our homes, Classic Communities reserves the right to change floor plans, specifications, prices and other information without prior notice or obliga- tion. Special wall and window treatments, custom-designed walks and patio treatments and other items featured in and around the model homes are decorator-selected and not included in the purchase price. Maps are artist’s conceptions and not to scale. Floor plans not to scale. All square footages are approximate. *The single family homes are a detached, single-family style but the ownership interest is condominium. Broker # 01197434. Open House | Sat. & Sun. | 1:30 – 4:30 27950 Roble Alto Drive, Los Altos Hills $4,250,000 Beds 5 | Baths 5.5 | Offices 2 | Garage 3 Car | Palo Alto Schools Home ~ 4,565 sq.
    [Show full text]
  • Bennett Bean Playing by His Rules by Karen S
    March 1998 1 2 CERAMICS MONTHLY March 1998 Volume 46 Number 3 Wheel-thrown stoneware forms by Toshiko Takaezu at the American Craft FEATURES Inlaid-slip-decorated Museum in vessel by Eileen New York City. 37 Form and Energy Goldenberg. 37 The Work of Toshiko Takaezu by Tony Dubis Merino 75 39 George Wright Oregon Potters’ Friend and Inventor Extraordinaire by Janet Buskirk 43 Bennett Bean Playing by His Rules by Karen S. Chambers with Making a Bean Pot 47 The Perfect Clay Body? by JejfZamek A guide to formulating clay bodies 49 A Conversation with Phil and Terri Mayhew by Ann Wells Cone 16 functional porcelain Intellectually driven work by William Parry. 54 Collecting Maniaby Thomas G. Turnquist A personal look at the joy pots can bring 63 57 Ordering Chaos by Dannon Rhudy Innovative handbuilding with textured slabs with The Process "Hair of the Dog" clay 63 William Parry maker George Wright. The Medium Is Insistent by Richard Zakin 39 67 David Atamanchuk by Joel Perron Work by a Canadian artist grounded in Japanese style 70 Clayarters International by CarolJ. Ratliff Online discussion group shows marketing sawy 75 Inspirations by Eileen P. Goldenberg Basket built from textured Diverse sources spark creativity slabs by Dannon Rhudy. The cover: New Jersey 108 Suggestive Symbols by David Benge 57 artist Bennett Bean; see Eclectic images on slip-cast, press-molded sculpture page 43. March 1998 3 UP FRONT 12 The Senator Throws a Party by Nan Krutchkoff Dinnerware commissioned from Seattle ceramist Carol Gouthro 12 Billy Ray Hussey EditorRuth
    [Show full text]
  • Gareth Mason: the Attraction of Opposites Focus the Culture of Clay
    focus MONTHLY the culture of clay of culture the Gareth Mason: The Attraction of Opposites focus the culture of clay NOVEMBER 2008 $7.50 (Can$9) www.ceramicsmonthly.org Ceramics Monthly November 2008 1 MONTHLY Publisher Charles Spahr Editorial The [email protected] telephone: (614) 794-5895 fax: (614) 891-8960 editor Sherman Hall assistant editor Brandy Wolfe Ceramic assistant editor Jessica Knapp technical editor Dave Finkelnburg online editor Jennifer Poellot Harnetty editorial assistant Holly Goring Advertising/Classifieds Arts [email protected] telephone: (614) 794-5834 fax: (614) 891-8960 classifi[email protected] telephone: (614) 794-5843 advertising manager Mona Thiel Handbook Only advertising services Jan Moloney Marketing telephone: (614) 794-5809 marketing manager Steve Hecker Series $29.95 each Subscriptions/Circulation customer service: (800) 342-3594 [email protected] Design/Production Electric Firing: Glazes & Glazing: production editor Cynthia Griffith design Paula John Creative Techniques Finishing Techniques Editorial and advertising offices 600 Cleveland Ave., Suite 210 Westerville, Ohio 43082 Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, Univ. of Florida Scott Bennett; Sculptor, Birmingham, Alabama Tom Coleman; Studio Potter, Nevada Val Cushing; Studio Potter, New York Dick Lehman; Studio Potter, Indiana Meira Mathison; Director, Metchosin Art School, Canada Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Susan York; Santa Fe, New Mexico Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by Ceramic Publications Company; a Surface Decoration: Extruder, Mold & Tile: subsidiary of The American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082; www.ceramics.org.
    [Show full text]
  • David Gilhooly - (1943 - )
    DAVID GILHOOLY - (1943 - ) Along with Robert Arneson and others, David Gilhooly was part of the group that developed Funk Art and took ceramic art to another level. Although probably best known for his imaginative anthropomorphic frogs and other creatures, Gilhooly has had a wide career as an artist in a number of mediums and still continues to evolve. Gilhooly has given up working in clay (twice), but he is the first to state that his current metamorphosis is not the final one. ARTIST’S STATEMENT - DAVID GILHOOLY David Gilhooly is primarily known for his ceramic sculpture of animals, food, planets, and most particularly FrogWorld. He is a graduate of the University of California at Davis, studying under Robert Arneson and working with the group in TB-9 (temporary building 9) that evolved into the Funk Ceramic Movement in the San Francisco Bay area. A prolific ceramic artist, his irreverent, darkly humorous objects are in many collections throughout the world, and he has been the focus of a number of exhibitions. Gilhooly turned from clay to working with Plexiglas and now is working on shadow boxes using mixed media and found objects and has also worked in printmaking and drawing. He lists his hobbies as “shopping (fighting with little old ladies for jigsaw puzzles)” 1and his bad habits as “collecting souvenir totem poles and watching cartoons.”2 1. http://www.sites.onlinemac.com/cchang/vitalstats.htm 2. Ibid. RESUME - DAVID GILHOOLY 1943 Born, Auburn, California 1965 University of California, Davis, BA 1966 University of California,
    [Show full text]
  • Oral History Interview with Tony Natsoulas, 2004 August 9-11
    Oral history interview with Tony Natsoulas, 2004 August 9-11 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 Tony Natsoulas on August 9 and 11, 2004. The interview took place in Sacramento, California, and was conducted by Liza Kirwin 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. Tony Natsoulas and Liza Kirwin 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 DR. KIRWIN: This is Liza Kirwin interviewing Tony Natsoulas at his home in Sacramento, California, for the Archives of American Art, Smithsonian Institution, August 9, 2004. And, Tony, you are just going to tell us everything in your life. MR. NATSOULAS: Oh, great. DR. KIRWIN: So, could you tell me when you were born, the year, and something about your early childhood, family background? MR. NATSOULAS: I was born in 1959, in Ann Arbor, Michigan. My father was teaching at the university there. At that time he was a graduate student at the University of Michigan.
    [Show full text]
  • Visions of the Davis Art Center
    Lost and Found: Visions of the Davis Art Center Permanent Collection 1967-1992 October 8 – November 19, 2010 This page is intentionally blank 2 Lost and Found: Visions of the Davis Art Center In the fall of 2008, as the Davis Art Center began preparing for its 50th anniversary, a few curious board members began to research the history of a permanent collection dating back to the founding of the Davis Art Center in the 1960s. They quickly recognized that this collection, which had been hidden away for decades, was a veritable treasure trove of late 20th century Northern California art. It’s been 27 years since the permanent collection was last exhibited to the public. Lost and Found: Visions of the Davis Art Center brings these treasures to light. Between 1967 and 1992 the Davis Art Center assembled a collection of 148 artworks by 92 artists. Included in the collection are ceramics, paintings, drawings, lithographs, photographs, mixed media, woodblocks, and textiles. Many of the artists represented in the collection were on the cutting edge of their time and several have become legends of the art world. Lost and Found: Visions of the Davis Art Center consists of 54 works by 34 artists ranging from the funky and figurative to the quiet and conceptual. This exhibit showcases the artistic legacy of Northern California and the prescient vision of the Davis Art Center’s original permanent collection committee, a group of volunteers who shared a passion for art and a sharp eye for artistic talent. Through their tireless efforts acquiring works by artists who were relatively unknown at the time, the committee created what would become an impressive collection that reveals Davis’ role as a major player in a significant art historical period.
    [Show full text]