DOCSLIB.ORG

Newsletter/Fall 2015 the DAS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Newsletter/Fall 2015 the DAS newsletter/fall 2015 Volume 23, Number 2 Decorative Arts Society The DAS The Decorative Arts Society, Inc. founded in 1990 for the encouragement of interest in, the appreciation of and the exchange of information about the decorative arts. (DAS) To pursue is a not-for-profit its purposes, New the DASYork sponsors corporation meetings, programs, seminars, tours and a newsletter on the decorative arts. Its supporters include museum curators, academics, collectors and dealers. Please send change-of-address information by e-mail to [email protected]. DAS Board of Directors President Robert C. Smith Award Committee Newsletter David L. Barquist Jeannine Falino, Chair H. Richard Dietrich, Jr., Curator Independent Curator, Museum Consultant The DAS Newsletter is a publication of American Decorative Arts Adjunct curator, Museum of Arts and of the Decorative Arts Society, Inc. The Philadelphia Museum of Art Design purpose of the DAS Newsletter is to serve as Philadelphia, PA New York, NY a forum for communication about research, exhibitions, publications, conferences and Vice President Suzanne Findlen Hood other activities pertinent to the serious Nicholas Vincent Associate Curator, Ceramics and Glass study of international and American deco- Manager of Collections Planning Colonial Williamsburg Foundation rative arts. Listings are selected from press Metropolitan Museum of Art Williamsburg, VA releases and notices posted or received New York, NY from institutions, and from notices submit- Dennis Carr ted by individuals. We reserve the right Treasurer Carolyn and Peter Lynch Curator of to reject material and to edit material for Stewart G. Rosenblum, Esq. American Decorative Arts and length or clarity. Sculpture We do not cover commercial galleries. Museum of Fine Arts, Boston, MA The DAS Newsletter welcomes submis- Secretary Boston, MA sions, preferably in digital format, by e-mail Moira Gallagher in Plain Text or as Word attachments, or Research Assistant Karen Zukowski on a CD. Images should be at high quality Metropolitan Museum of Art Art historian (400 dpi), as TIFFs or JPEGs, either color or New York, NY black-and-white, with detailed captions. Emily Orr The newsletter of the DAS is published Margaret Caldwell Assistant curator of modern and two times a year. Submission deadlines for contemporary American design 2016 are: March 31 for the spring issue; Judith Hernstadt Cooper Hewitt, Smithsonian Design September 30 for the fall issue. Send mate- Museum rial to: Charles F. Montgomery Prize and New York, NY Ruth E. Thaler-Carter, Award Committee DAS Newsletter Coordinator Wendy Cooper, Chair Jennifer Scanlan 2500 East Avenue, #7K Curator emerita of Furniture Independent curator Rochester, NY 14610 Winterthur Museum or: Winterthur, DC [email protected] Nancy Carlisle The DAS website may provide informa- Senior Curator of Collection tion about events that fall between issues. Historic New England Boston, MA Editor Gerald W. R. Ward Gerald W. R. Ward Senior Consulting Curator & Senior Consulting Curator Katharine Lane Weems Senior Curator Katharine Lane Weems Senior Curator of of American Decorative Arts and American Decorative Arts and Sculpture Emeritus Sculpture Emeritus Museum of Fine Arts, Boston Museum of Fine Arts, Boston Boston, MA Boston, MA Cover image: Coordinator Ruth E. Thaler-Carter Labyrinth, gold, silver, cloisonné enamel on copper, fine silver, amethyst, Freelance Writer/Editor tourmaline, pearl, snail shell; 3 3/4 x 1 1/2 x 3/4 in. (9.5 x 3.8 x 1.9 cm). 1984. Rochester, NY William Harper (born 1944). Photo: Jairo Ramirez. In Little Dreams in Glass and Newsletter design by Plum Crane. Metal: Enameling in America, 1920 to the Present (see Exhibitions). All content © Decorative Arts Society. DAS news DAS offers extraordinary opportunity to experience decorative arts in Georgia For DAS participants planning to in fares, please make your indepen- he DAS brightens the dreary dentbook travelflights arrangements early in the hope to arrive of locking days of February by offering con- in Atlanta no later than 11a.m. on museum admission and administrative Ttributors a private, curator-led February 4 to attend the High Museum expenses incurred by the DAS. We sug- tour of the decorative arts collections gest making reservations early to avoid of the High Museum of Art (Atlanta, motor coach will drop DAS participants disappointment. GA) organized just for the DAS, fol- attour the at Atlanta 12 noon. airport For return by 3 p.m. flights, on the The Decorative Arts Society, Inc. lowed by participation in the Henry February 7, so please book departures and cooperating organizations and D. Green Symposium on southern no earlier than 5 p.m. that day. Fares individuals have no liability or respon- decorative arts (Athens, GA) and tours between Atlanta and a number of cities sibility whatsoever for this event, nor of private collections. are currently comparatively favorable. for any acts or omissions of others in What makes this trip extraordi- Registration for the symposium connection therewith, and shall in no nary is not just the access to museum and booking convenient hotel accom- event be under any liability or re- and private collections and a renowned modations at the conference center’s sponsibility whatsoever for the injury symposium on the decorative arts, but hotel must be done on an individual or death of any person or any loss, also the reasonable price for what is basis and is easy to do. We recommend expense, delay, injury or other damage being offered to DAS contributors. The registering for the full symposium to any person or property occurring trip will be held from February 4–7, package at $285 to take advantage of on, during or in relation to the event, or 2016, with the DAS segment at only the meals and additional hospitality any change in the schedule or cancella- $150/person. being offered. Rates start at a modest tion of the event. Reservation of a place Participants will reach Atlanta on $99 per room per night plus tax at the for the event or any portion thereof their own and arrange to gather at the Georgia Center UGA conference center or any accommodation in connection High Museum on Thursday, February hotel. therewith will constitute acceptance of 4 (the MARTA Northbound Gold or To register for the symposium and these terms. Red subway lines run directly from the book hotel accommodations, call 800- - 884-1381 between 8 a.m. and 6 p.m. tional airport to Arts Center – the High Monday through Friday or go online In this issue MuseumHartsfield-Jackson stop; luggage Atlanta may Interna be stored www.georgiacenter.uga.edu, then click at the museum) for a special tour of the on the following: Plan Your Stay under DAS news 1–5, 12 museum. The group will then travel by Hotel and Conferences; Register for an motor coach to Athens, GA, to attend Event; The Eighth Henry D. Green Sym- Book review 6 the two-day Henry D. Green Sympo- posium of the Decorative Arts under sium on southern decorative arts, February 2016; and Register Online. Events 7 augmented by private collection visits arranged especially for the DAS. you can make hotel reservations for the Books 9 The trip concludes with a visit on nightsAfter filling of February out the 4–6. registration form, News 11 Sunday, February 7, to the home of A separate DAS registration will be renowned collector William N. Banks required. The formal trip announce- Acquisitions 10 in Newnan, GA, after which a motor ment will go out shortly. The fee will coach will take DAS participants to the be $150 per person to cover the cost People 13 - of the DAS-sponsored portions of the al airport. trip, including the motor coach, tours, Exhibitions 17 Hartsfield-Jackson Atlanta Internation Newsletter of the Decorative Arts Society, Inc. Fall 2015/1 DAS recognizes excellence in decorative arts publishing and Art History at Wesleyan University. 2015 Robert She received her undergraduate degree Smith Award in 1998 from Grinnell College, MA in 2005 from Bard and PhD in 2012 from By Jeannine Falino, the Department of the History of Art at Smith Award Committee chair Yale University. he Robert C. Smith Award of the Hartzell’s research and teaching DAS for the best article published span topics in the history of European Tin 2014 in English on the deco- art, design and architecture from 1750 rative arts goes to Freyja Hartzell for through the present day, with special her article “A Renovated Renaissance: emphasis on German visual and mate- - rial culture of the 19th and 20th centu- riors for the Thieme House in Munich,” ries. Her research has been supported publishedRichard Riemerschmid’s in Interiors Modern Inte by the Berlin Program for Advanced 1: 5–36). German and European Studies, German Hartzell considers (Volume Munich 5,artist Issue Academic Exchange Service (DAAD), Richard Riemerschmid’s anti-mod- and Central European History Society. ernist application of German Renais- Hartzell’s manuscript, Designs on sance principles in his modern designs the Body: The Modern Art of Richard for a gentleman’s study. Her nuanced Riemerschmid, examines how Riemer- investigation draws upon Dürer’s “Self- schmid’s early 20th-century designs for portrait” of 1500 as a cultural touch- housewares, interiors and clothing force stone and Riemerschmid’s use of wood a reconception of canonical modernism. to symbolize the German character, one The Robert C. Smith Award was that embodied both a rough materiality and a soulful spirituality. established in March 1978Robert and firstC. Smith (1912–1975),presented in 1979. who taughtIt is named at the for Uni the- versityinfluential of Pennsylvania art historian and specialized in the art and architecture of Portugal, The 2015 recipient of the Mont- Spain, South America and the United gomery Prize is In Plain Sight, Discover- States.
Load more

Recommended publications
  • Acquisitions
    Acquisitions as of June 30, 2009 African and David Soltker and Irving Dobkin Feldstein Endowment Fund for endowments (2008.206). Decorative Arts (2008.558). Amerindian Art North American Furniture African Mexico Artist unknown, Tea Table, Bwa, Dossi, Burkina Faso, Teotihuacan, Figurine, c. 1750/90, mahogany: Roger and Butterfly Mask, early/mid-20th a.d. 400, greenstone: gift of J. Peter McCormick endow- cen., wood and pigment: Charles Ethel F. and Julian R. Goldsmith ments; restricted gift of Jamee J. H. and Mary F. S. Worcester (2008.675). Tlatilco, Female and Marshall Field, and Carol Collection Fund (2008.190). Edo, Figurines, c. 500 b.c., ceramic W. Wardlaw (2009.58); Stand, Benin City, Nigeria, Container and pigment: gift of Ethel F. and 1790/1810, birch: gift of Jamee J. in the Form of a Leopard Head, Julian R. Goldsmith (2008.676–78). and Marshall Field (2008.679). early 21st cen., brass: gift of Omo Vladimir Kagan, Occasional N’Oba N’Edo Uku Akpolokpolo, United States Table, c. 1952, walnut and brass: Oba of Benin (2008.674). The Orbit Fund (2009.232). Navajo, northern Arizona or Mahdiyya State, Sudan, Tunic Walter von Nessen, manufactured New Mexico, Concho Belt, (Jibbeh), 1885/99, cotton: African by Nessen Studio, Inc., Occa- 1880/95, silver and leather: and Amerindian Curator’s Discre- sional Table, c. 1931, aluminum, Auxiliary Board of the Art tionary, Holly and David Ross, Bakelite, and iron: Quinn E. Institute of Chicago (2009.572); Arnold H. Crane, African and Delaney Fund (2009.156). Bow Guards (Ketoh), 1900/20, Amerindian Art Purchase, and silver, leather, turquoise, and O.
    [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]
  • 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]
  • Oral History Interview with Karl Drerup, 1974 November 15-1975 January 28
    Oral history interview with Karl Drerup, 1974 November 15-1975 January 28 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 Karl Drerup on November 15, 1974 and January 28, 1975. The interview was conducted in Thornton, NH by Robert Brown for the Archives of American Art, Smithsonian Institution. 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 ROBERT BROWN: This is an interview in Thornton, New Hampshire in November 15, 1974 with Karl Drerup and I would like to begin by—if you will talk a bit about your childhood. I know your family was a very old one in Westphalia [Germany] and if you could give some feeling of your family as you knew them and some of the memories of your earlier childhood. KARL DRERUP: All right. A very strictly orthodox Roman Catholic family to begin with. This is one of the main elements of my terribly religious middle-class shelter, if you wish. Ja, this would be a good description. Of course, First World War fell into my time, into my youth. ROBERT BROWN: You were about 10 when it started; weren't you? KARL DRERUP: Yeah, and we saw the army go out on horseback and come back on horseback you might say is what happened—during the war, my mother's and my stepfather's particular interests were to have one of their children become a clergyman.
    [Show full text]
  • A Finding Aid to the Adolf Dehn Papers, 1912-1987, in the Archives of American Art
    A Finding Aid to the Adolf Dehn Papers, 1912-1987, in the Archives of American Art Kathleen Brown Funding for the processing of this collection was provided by the Terra Foundation for American Art January 21, 2009 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 Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Material, circa 1920-1968..................................................... 6 Series 2: Correspondence, circa 1919-1982............................................................ 7 Series 3: Writings, circa 1920-1971......................................................................
    [Show full text]
  • October 19,59 G Old M L' Dal Ing Historical a Nd Artistic Qual Ity, Chosen from Museum Tional Code
    demonstrate the stages in the development of the fin­ The.:. Tational ished work, This material will become part of the per­ manent collection o f the Museum of Contemporary Adz isorl} Boa rd Crafts, to be used for display and for circulating edu­ cational units of the Amencan Craftsmen's Council. > The National Advisory Board held its annual meeting The nine enamclists who were commissioned are: at the close of the Lake George Conference. The dis­ C Margaret Craver, Karl Drerup, Robert J. King. Mary cussion ranged through a variety of subjects including Ellen McDermott, John Paul Miller. Earl B. Pardon, membership, jurying. regional conferences, and a code Ronald Pearson, June Schwarcz and Joseph Trippetti. of ethics for craftsmen. It was suggested that all affi­ Finally, the contemporary enamel work is shown c:! liates who have formulated a Code of Ethics send one against the background of sixty enamels of outstand­ copy to ACC for a study leading to a possible Na­ October 19,59 G old m l' dal ing historical a nd artIstic qual ity, chosen from museum tional Code. collections in this country, This part provides a point winner hv Dirk Hubers David Campbell reiterated his belief that the contin­ of perspective for the exhibition as a whole, shows the ued growth of ACC depended upon a mutual effort historical use of various techniques, provides the op­ among individual members, affiliated groups, and portunity for comparisons with contemporary work ACe. The ACC does not intend to impose any rigid and finally, inspiration for the enamelist. Some enam­ pattern upon its members, but only to lead them in the eli sts interviewed stated frankly that the study of directions they themselves believe are best.
    [Show full text]
  • Brett Colley Curriculum Vitae 1211 Calder Arts Center Grand Valley State University Allendale, MI 49401 616-331-2952 [email protected]
    Brett Colley Curriculum Vitae 1211 Calder Arts Center Grand Valley State University Allendale, MI 49401 616-331-2952 [email protected] Education: Master of Fine Arts, Printmaking/Minor: Painting, University of Iowa, Iowa City, IA - 1994 Master of Arts, Printmaking/Minor: Drawing, University of Iowa, Iowa City, IA -1993 Bachelor of Fine Arts, Printmaking, Grand Valley State University, Allendale, MI - 1991 Kendall College of Art & Design, Grand Rapids, MI - 1986-7 Teaching/Professional Experience: Associate Professor – Grand Valley State University, Allendale, Michigan. Course have included all levels of Drawing, Printmaking, Artists’ Books, and Senior Seminar. Fall 2004 – Winter 2009 Assistant Professor – (Tenure Track) Grand Valley State University, Allendale, Michigan. Appointed initially to teach Foundations, responsibilities also encompassed upper levels of Drawing, Printmaking, and Senior Seminar. Fall 2004 – Winter 2009 Visiting Assistant Professor (Full-time) - Printmaking, Grand Valley State University, Allendale, Michigan. Although originally appointed to teach drawing, the parameters of this position shifted due to a sabbatical replacement, growth of the printmaking area, and the addition of screen-printing. Courses/responsibilities included: Introduction to Printmaking Intermediate and Advanced levels of Intaglio & Relief Screen-Printing (as well as other non-traditional, non-toxic planographic techniques, including polymer plate lithography.) Acted as area head, representing the Printmaking area on all faculty committees and review panels. Served as advisor to graduating seniors and other print majors. Oversaw acquisition of supplies, and maintenance of print facility Committee work included: Foundation, Junior, and Senior Reviews, Visiting Artists Committee, Studio Area Committee. Fall 2003 – Winter 2004 Visiting Assistant Professor (Full-time) - Drawing, Grand Valley State University, Allendale, Michigan.
    [Show full text]
  • Newsletter/Spring 2016 the DAS DAS DAS News the Decorative Arts Society, Inc
    newsletter/spring 2016 Volume 24, Number 1 Decorative Arts Society The DAS DAS DAS news The Decorative Arts Society, Inc. in 1990 for the encouragement of interest in, the appreciation of, and the exchange of DAS sees changes on board, information about the decorative arts. To, is pursuea not-for-profit its purposes, New theYork DAS corporation sponsors foundedmeetings, Newsletter programs, seminars, tours and a newsletter on the decorative arts. Its supporters include museum curators, academics, collectors and dealers. is at peak of service and vitality Please send change-of-address information by e-mail to [email protected]. or the past 10 years, I have had to the chairs of the Robert C. Smith for the fall Board of Directors Gerald W. R. Ward Editor the honor and pleasure to serve and Charles F. Montgomery Award of 2016: to President Senior Consulting Curator Gerald W. R. Ward as president of the Decorative committees, and to Gerry Ward and New Haven, Senior Consulting Curator & F Susan P. Schoelwer Katharine Lane Weems Senior Curator of Arts Society (DAS). Believing strongly Ruth Thaler-Carter for their dedica- CT, to see Katharine Lane Weems Senior Curator Robert H. Smith Senior Curator American Decorative Arts and - tion in bringing out each new issue of the exhibi- Sculpture Emeritus of American Decorative Arts and George Washington’s Mount Vernon cial to every organization (not to men- the newsletter. tion Art and Museum of Fine Arts, Boston Sculpture Emeritus Mount Vernon, VA that changes in leadership are benefi Boston, MA Museum of Fine Arts, Boston I owe special thanks to Nicholas Industry Boston, MA decided to step down.
    [Show full text]
  • Parrasch Heijnen Gallery, Los Angeles, CA 2019 Mildred Howard, Fred Jones Jr
    parrasch heijnen Mildred Howard b. 1945, San Francisco, CA Lives and works in Oakland, CA Education 1985 MFA, Fiberworks Center for the Textile Arts, John F. Kennedy University, Berkeley, CA 1977 Associates of Arts Degree & Certificate in Fashion Art, College of Alameda, Alameda, CA Solo Exhibitions 2021 In the Line of Fire, Shirley Fitterman Art Center, Borough of Manhattan Community College, CUNY New York, NY 2020 The House That Will Not Pass for Any Color Than Its Own, Battery Park City, NYC, NY (until 2022) Mildred Howard: A Survey, 1978 - 2020, Parrasch Heijnen Gallery, Los Angeles, CA 2019 Mildred Howard, Fred Jones Jr. Museum of Art, University of Oklahoma, Norman, OK 2018 Mildred Howard, Roll Up Project, Oakland, CA 2016 Mildred Howard: Parenthetically Speaking, Anglim Gilbert Gallery, San Francisco, CA 2015 Mildred Howard: Spirit and Matter, Richmond Art Center, Richmond, CA 2014 Mildred Howard: Collective Memory, Fresno Art Museum, Fresno, CA 2011-12 Parenthetically Speaking: It’s Only a Figure of Speech, Museum of Glass, Tacoma, WA 2010 New Work, Gallery Paule Anglim San Francisco, CA Moeller Fine Art, Berlin, Germany 2008 Mildred Howard: That Was Then and Here Was Now, Nevada Museum of Art, NV, Reno Nielsen Gallery, Boston, MA To Honor Teaching, Solano Community College, Fairfield, CA 2007 New Works 2007, Gallery Paule Anglim, San Francisco, CA Drawings: Visions, Surfaces, and Beyond, Triton Museum of Art, Santa Clara, CA 2006 In the Line of Fire/Crossings, University of Texas, San Marcos, TX Nielsen Gallery, Boston, MA Santa
    [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]
  • California Design, 1930-1965: “Living in a Modern Way” CHECKLIST
    ^ California design, 1930-1965: “living in a modern way” CHECKLIST 1. Evelyn Ackerman (b. 1924, active Culver City) Jerome Ackerman (b. 1920, active Culver City) ERA Industries (Culver City, 1956–present) Ellipses mosaic, c. 1958 Glass mosaic 12 3 ⁄4 x 60 1 ⁄2 x 1 in. (32.4 x 153.7 x 2.5 cm) Collection of Hilary and James McQuaide 2. Acme Boots (Clarksville, Tennessee, founded 1929) Woman’s cowboy boots, 1930s Leather Each: 11 1 ⁄4 x 10 1⁄4 x 3 7⁄8 in. (28.6 x 26 x 9.8 cm) Courtesy of Museum of the American West, Autry National Center 3. Allan Adler (1916–2002, active Los Angeles) Teardrop coffeepot, teapot, creamer and sugar, c. 1957 Silver, ebony Coffeepot, height: 10 in. (25.4 cm); diameter: 9 in. (22.7 cm) Collection of Rebecca Adler (Mrs. Allan Adler) 4. Gilbert Adrian (1903–1959, active Los Angeles) Adrian Ltd. (Beverly Hills, 1942–52) Two-piece dress from The Atomic 50s collection, 1950 Rayon crepe, rayon faille Dress, center-back length: 37 in. (94 cm); bolero, center-back length: 14 in. (35.6 cm) LACMA, Gift of Mrs. Houston Rehrig 5. Gregory Ain (1908–1988, active Los Angeles) Dunsmuir Flats, Los Angeles (exterior perspective), 1937 Graphite on paper 9 3 ⁄4 x 19 1⁄4 in. (24.8 x 48.9 cm) Gregory Ain Collection, Architecture and Design Collection, Museum of Art, Design + Architecture, UC Santa Barbara 6. Gregory Ain (1908–1988, active Los Angeles) Dunsmuir Flats, Los Angeles (plan), 1937 Ink on paper 9 1 ⁄4 x 24 3⁄8 in.
    [Show full text]
  • Oral History Interview with June Schwarcz, 2001 January 21
    Oral history interview with June Schwarcz, 2001 January 21 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 June Schwarcz on January 21, 2001. The interview took place in Sausalito, California, and was conducted by Arline M. Fisch 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. June Schwarcz and Arline M. Fisch 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 [Joined in progress.] MS. FISCH: -become interested in art because of your family? MS. SCHWARCZ: No, there were no artists in the family. My mother's parents were born in Russia, and my father's grandfather came to America from Germany. He rode in a prairie schooner from Kansas City to Grand Junction, Colorado. He was a very little man and he traded with the Indians as a fur trader and later had a little store. My father was his grandson. MS. FISCH: Were you interested in art as a child? MS.
    [Show full text]